TWIN PEAKS ALTERED UNIVERSE SEASON 3
by Remlap Arual
Summary: 1 I'll see you again... 2 Full blossom... 3 Something horrible... 4 ...like a flower 5 ...like an animal 6 This cherry pie... 7 Mike and I... 8 Was Laura in it? 9 ...in trouble 10 ...beautiful dream... 11 It's me. It's me. 12 Who's Annie? 13 ...creamed corn? 14 Don't go there 15 I couldn't get my car started 16 Audrey, don't go in there! 17 Not if I see you first
1. I'll See You Again in 25 Years

(Fourth Edit 6-27-18)

TWIN PEAKS: EPISODE 1: "I'LL SEE YOU AGAIN IN 25 YEARS"

S3:E1: TEASER

INT. BLACK LODGE - STOCK AND NEW FOOTAGE (CGI)

The red draped room, chevronned floor. 17 year old Laura Palmer sits across from an aged FBI Special Agent Dale Cooper as the diminutive Man from Another Place watches. LAURA (backwards speak): "I'll see you again in 25 years ... meanwhile ..." Laura poses her hands. SLOW MORPH to present, aging Laura. As we morph to present, an object appears in Laura's posed hands: A vase from the Hayward house, with 12 unique roses, in 12 states of life, one appearing one starting to die at a time. COOPER: "Laura? ... Laura Palmer?"

INT. WHITE LODGE - (CGI)

Curtains of white vapor. Floor of moving chevronned green fractals. Cooper and The Giant sit across from each other, on two of four facing white marble vine encrusted thrones. COOPER: "... Laura Palmer ... Laura ..." GIANT (simultaneous forwards & backwards speak 'simulwards' speak): "Twelve you must save, one is in the woods, two in the owls, six you must uncover, and three you have already saved." COOPER: "But I saved no one. Laura, Theresa, Annie, Maddy, Josie, so many..." GIANT (simulwards speak): "You must choose to take all their garmonbozia, or save yourself." COOPER: "I choose pain and sorrow."

EXT. PALMER HOUSE - NIGHT

Caption: '25 years later. February 23'. Closer to the house, we see through to Sarah Palmer's bedroom, and Sarah asleep. She is lit by the intermittent light and shadows of the ceiling fan, unseen down the hallway.

INT. PALMER HOUSE - SARAH'S BEDROOM - NIGHT

Sarah sleeps. She turns uncomfortably. On her night stand, a pack of smokes, ashtray, empty scotch glass, by a picture of Laura sitting in front of the Palmer House.

INT. SARAH'S DREAM - WOODS - DAY (CGI)

In a woodland clearing, Sarah, still, sits on a white horse, sidesaddle, in her white wedding dress. Sarah smiles warmly at Cooper, who we see standing in woods, his FBI suit spotless. SARAH: "I can only see you in your dreams." COOPER: "Am I dreaming, Sarah?" SARAH: "No, you are dreaming Laura." Cooper looks consternated. SARAH: "Leland!" Leland Palmer appears, hovering and angled to the ground 30°, head pointing to horse's chest, in wedding tux. LELAND (backwards speak): "Is it happening again? Where's my Laura?"

INT. PALMER HOUSE - SARAH'S BEDROOM - NIGHT (CGI)

Sarah scream-wakes from nightmare. As screams continue, INSERT SHOT BOB CRAWLING ON CEILING NEAR CEILING FAN. Bob's filthy greasy grey and white hair hangs in wild tangles, knotted in the fan's breeze, as he crawls like a slinking animal past Laura's door toward Sarah's bedroom. BOB: "I'm coming for you, bitch!" More screams into:

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E1: ACT ONE

EXT. PALMER HOUSE - LATER - NIGHT

Two Twin Peaks Sheriff cruisers parked headlight to headlight, people on street in bed clothes. The street and house twinkle with red, white, and blue as the cruisers flash.

INT. PALMER HOUSE - LIVING ROOM - NIGHT

Lit by flashes, Deputy Chief Hawk Hill stands by open front door and an entryway table with a picture of Laura before prom, phone, empty ashtray. HAWK: "Sarah, you sure you're okay?" Sarah sits between Deputy Chief Andy Brennan and Doctor Will Hayward. SARAH: "I left the window open, so hot, _that fan_ ..." She weeps. SARAH: "Seventeen years old, twenty five years ago, tonight." Andy weeps. She motions to take his head in her arms, he does. DOC HAYWARD: "Sarah, you can't let these dreams upset you, you know your medication-" JACOBY (OS): "Sarah needs her dreams, we all do, buckaroo." Doc Hayward turns to see Doctor Lawrence Jacoby in doorway. DOC HAYWARD: "Who let you in here!?" Hawk holds Jacoby back. SARAH: "Get that, Hawk, I can't ..." _Then_ phone rings. Looks. INTERCUT with EXT. LOG LADY'S CABIN - PORCH - NIGHT: Margaret Lanterman, the Log Lady, stares out into the woods from her sparse front deck, holding her log, her cell phone raised. Hawk picks up phone. HAWK: "Hello. Palmer residence." LOG LADY: "Hawk, my log wanted to tell you three things. 'The crow and the hawk kills the owl, the pies are all that they seem, and sparkwood burns to ashes.' That is all my log can say, but he has seen the phoenix on his brightest day." HAWK: "Thank you, Margaret. I understand. I will listen to the wind. Goodbye, Margaret." Hawk hangs up phone. Sarah lets Andy up, motions to Hawk. SARAH: "Did she see Laura?" HAWK: "No, Sarah, she saw something elsewhere." Sarah sighs, relaxes into her chair. SARAH: "I see my Laura." Andy wipes a red tear from Sarah's face. Jacoby pokes his face in. JACOBY: "Channel, Sarah, channel-" Doc Hayward grabs him as paramedics arrive. Sarah looks up at Paramedic Mike Nelson. SARAH: "You!" MIKE: "Now, Mrs. Palmer, you got to let me do my job." Sarah screams. SARAH: "What are all these people doing in my house!" Hawk quietly exits.

EXT. SHERIFF'S STATION - NIGHT

The station's security door entry pad blinks red. The doors seemed mismatched to the station's agrarian wood exteriors, statue, and its iconic wooden banner sign, 'TWIN PEAKS SHERIFF'S DEPARTMENT.'

INT. SHERIFF'S STATION - RECEPTION - NIGHT

Lucy Brennan types on a keyboard at her 10-screen computer dispatcher station. She touches her bluetooth earpiece. LUCY: "She can see Laura? Oh ... Andy ... Hold Deputy Chief Brennan." Lucy presses button. LUCY: "Deputy Briggs? Deputy? Multiple disturbances at Roadhouse. Reply. Over. ... Deputy Briggs?"

EXT. ROADHOUSE - THE IMMEDIATE PAST - NIGHT

Bobby Briggs, in Twin Peaks Sheriff's uniform, stands next to his cruiser and a row of Harley Davidson hogs. Bobby shuts off his flashers. Bobby listens to his police radio. ANDY (Crying, VO): "Oh Lucy, she cried blood. Lucy, it was horrid, and she said she saw Laura, she saw Laura tonight." Radio distorts, echoes. ANDY (distortion, VO): "Tonight ... tonight ..." LUCY (distortion, VO): "She can see Laura? Oh ... Andy ... Hold ... Chief ... Briggs? Multiple ... See Laura? Reply. Over. See Laura?" Bobby blinks. Bobby stares into woods behind Roadhouse. Bobby blinks. Distortion fades. Bobby blinks. He turns his head as: Bobby watches Shelly leave Roadhouse.

INT. ROADHOUSE - MOMENTS EARLIER - NIGHT

In the dark high-beamed bar, not smoke but dust has arisen from the aftermath of a bar fight, no one moving, crowd circling Joey Paulson, who has his knee on an unseen man's back, arms wrenched back. Dark save the bars neon and the flashers of Bobby's cruiser outside windows. Tables pushed all hitherto and helter skelter. Busted beer bottles. Peanuts scattered everywhere. Scrunched paper reading partially, 'KEEP TWIN PEAKS ...' JOEY: "I ain't moving until the Sheriff gets here, and neither are you!" Bobby's flashers shut off. Joey looks to Shelly Hurley, at bar, and nods her to the door. Shelly's name tag reads 'Double R Café' above 'Shelly Hurley' above 'General Manager'. Shelly wears her sky blue Double R Café uniform under a Bookhouse Boys leather jacket. She nods and exits.

EXT. ROADHOUSE - BACK TO CONTINUOUS - NIGHT

Bobby watches Shelly leave Roadhouse, get into a 2010 baby blue Dodge Charger, and pull out in a storm of dust and squealing tires. Bobby gets into his cruiser and follows.

EXT. SPARKWOOD & 21 - MOMENTS LATER - NIGHT - (CGI)

Center stop light green. Shelly's Charger pulls up to James Hurley, astride his 1978 Electra Glide Harley Davidson motorcycle. Bobby's cruiser stops in distance. James opens his leather jacket. Shelly gets out and slams door. She goes to James, who holds her. Unseen woman in woods moves douglas fir branch to watch the two of them. JAMES: "This is exactly where she was. Laura." Stop light yellow. SHELLY: "James, this isn't safe. Leo was released today, and his buddies just trashed the Roadhouse. James, they said they're going to kill me and Bobby." Stop light red. JAMES: "Bobby and I aren't friends anymore." Light glows redder. SHELLY: "James, Bobby has to kill Leo, it's the only way." JAMES: "No." Light bright red. JAMES: "What the hell's wrong with that light?" Donna emerges from woods, crying, holding her left arm, pointing to light. Bobby exits cruiser, walks towards, entranced. James is stunned to see Donna and Shelly notices. James and Shelly watch Donna point and methodically walk toward the brightening signal light. Bobby arrives. The stoplight explodes, SLOW MOTION showering twinkling red glass and white sparks that form an image of Laura Palmer made of sparkles and brilliance, her hands posed. More sparks and glass. Behind Laura, an image of Cooper appears, made of glass and stars.

S3:E1: ACT TWO

EXT. SPARKWOOD & 21 - NIGHT

Caption: 'Midnight February 24.' The six other hanging stop lights blink red. As Donna, Shelly, Bobby, James stand dumbfounded in glass, Major Garland Briggs steps out of woods. He wears his Air Force Major uniform with 36 ribbons. GARLAND: "You see son, the juxta-" BOBBY: "F*ck! ... Dad! ... F*ck, I could've shot you!" GARLAND: "The juxtaposition of extraordinary events into our seemingly lackluster but rich lives may prompt us to question our turbulent and oftentimes consternating perception of reality and meaning. Son, it is through painstaking exploration, then understanding, then mastering our universe through a lens of moral veracity, that we all emerge from melancholy, passivity, darkness onto a path of fulfillment, achievement, enlightenment." Astonished, Bobby glares at Garland. GARLAND: "Such is the nature of my work, and your quest, son."

EXT. SKY ABOVE SPARKWOOD & 21 - NIGHT

The group below in shattered glass, the center stop light dark, 6 others blinking red and shorting out to darkness lit only by the cruiser's headlight's and James' Electra Glide. Tilting up beyond Sparkwood through Twin Peaks to the Great Northern on a far opposing hill.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Audrey Horne enters, vexed, drops overnight bag. She wears a scarlet business suit and hat, the webbing of her black gauze veil covering one eye and draping down to her cheek. AUDREY: "Daddy, what is too secret to say on the phone?" Benjamin Horne, sporting an Armani suit, stands from his desk, chomping a carrot stick. BEN: "Eavesdropping, Audrey, eavesdropping. Come with me." Ben points the way with his carrot. They exit to:

INT. GREAT NORTHERN - BANQUET HALL - MOMENTS LATER - NIGHT (CGI)

Johnny Horne is sitting on the conference table and has built a huge face of Laura out of fruit on the table, an astoundingly accurate autistic and artistic replica of the trophy case photo. AUDREY: "Johnny!" Audrey moves to Johnny, then onto table, sitting with him. She brushes a headdress feather from his face. Face-to-face, they hold each other and sway back and forth. Johnny points at replica. JOHNNY: "Coo-per." Audrey halts her sway, almost shocked. AUDREY: "Johnny, you made Laura, not Agent Cooper." JOHNNY: "Coo-per." Audrey hangs her head. Johnny almost awkwardly removes Audrey's hat, she smiling as he does, to stare into her stunning sky blue eyes. The webbing sticks to his fingers as he tries to drop the hat. Audrey smiles and untangles him, dropping the hat to the floor. From doorway: SILVIA (OS): "Don't you go in there!" Jerry Horne and Sylvia Horne stop at doorway. Jerry squeezes past an infuriated Sylvia. JERRY: "Uncle Jerry's here! What's my favorite nephew building? Like father, like son, huh, Ben?" JOHNNY: "Coo-per." Johnny gets up, motions Audrey to help move table. Jerry rushes in, giddy to help, as they move table to display it in front of bay window. Johnny sits on end of table and stares out window. Jerry stares out, trying to see where Johnny blankly stares. BEN: "Audrey, call your sister." SYLVIA: "Audrey, don't you dare!"

EXT. DOUBLE R CAFÉ - NIGHT

The large red neon R's of the café are dark. The neon sign switches on. The neon sign switches off. We see inside the dark windows of the café, as an interior light clicks on.

INT. DOUBLE R CAFÉ - NIGHT

The café is dark. Donna sits across from James in the only lit booth. Shelly enters from kitchen, bringing cherry pie and coffee. JAMES: "You sure Aunt Norma won't mind us being in here?" SHELLY: "As long as I'm here, we're fine." James turns to Donna. JAMES: "What were you doing at Sparkwood and 21?" DONNA: "I knew you would be there, James. It would have been happening to her just about now." JAMES: "This can't be real, this isn't happening." DONNA: "James, Laura is calling to us, it's real, and its up to us." SHELLY: "Donna, we have bigger worries, in the real world." Donna takes a bite of pie as her cell phone rings. DONNA: "Hello ... Audrey? ... What!? Your mother will not-" Donna looks at her phone, grabs her stuff and exits. JAMES: "That was weird." SHELLY: "James, I think she's trying to seduce you back into her life. James, look at me!"

EXT. BIG ED'S GAS FARM AND HURLEY HOUSE - LATER - NIGHT

An owl stares into night. Owl is staring at Big Ed's Gas Farm. Lights shut off on station. Lights already out on Big Ed's 'TowTownNow' and Big Ed's 'Classic Auto Repair.' Big Ed Hurley exits station, enters his black 1999 Ford F150 Thunder, and drives into town. Across street at his house, drapes open noisily revealing Norma Hurley.

EXT. DOUBLE R CAFÉ - NIGHT

Ed pulls up, exits his Thunder to waiting James and Shelly. ED: "James, what's going on?" JAMES: "We need some help from the Bookhouse Boys." ED: "Leo?" SHELLY: "Yeah ..." JAMES: "Uncle Ed, we, we saw Laura." ED: "You'd better come over." They nod, exit to vehicles.

EXT. BIG ED'S HOUSE - LATER - NIGHT

We see vehicles and hog parked outside. Through open windows, we see Ed, James, and Norma holding Shelly. Owl hoots. Owl turns its head to Sheriff's cruiser, flashers on, no siren, as it speeds by. Flashers in the owl's saffron eyes.

EXT. SHERIFF'S STATION - MOMENTS LATER - NIGHT

Cruiser pulls up, Sheriff Harry Truman exits.

INT. SHERIFF'S STATION - RECEPTION - CONTINUOUS - NIGHT

As Harry approaches, Lucy holds up a finger, then finishes typing. HARRY: "Lucy, was that all points an open mike?" LUCY: "I had several calls, Sheriff Truman, and the system had a glitch, and everyone heard me and Andy, the stuff with Sarah and Laura, and three vandalism reports, and five arrests at the roadhouse! And Sheriff, they wrapped the Packard Mill Tower in plastic. Plastic!" HARRY: "Feels like a full moon."

EXT. SHERIFF'S STATION AND SKY - CONTINUOUS - NIGHT

Far above the station below, we see past the Great Northern, the upper lake to falls, and in the far distance, the woods and hills of Ghostwood Forest.

INT. BLACK LODGE (CGI)

The red curtained room is bare of furnishings. The One Armed Man, Phillip Michael Gerard, hovers on his side, looking as if his missing arm is buried in the chevronned floor. The floor becomes translucent, showing the Man from Another Place dancing on the ceiling of the room below in the spot where the arm would be. ONE ARMED MAN (backwards speak): "Doppelganger." He points to Man from Another Place. His real arm shakes, goes numb. ONE ARMED MAN (backwards speak): "Kill your arm, or die." We see Cooper, watching the spectacle, his brow furled. COOPER: "How do I get back?" ONE-ARMED MAN (backwards speak) & LOG LADY (VO, stock): "Shut your eyes, and you'll burst into flames." Cooper shuts his eyes, bursts into flames, and fades away. We see the face of the One Armed Man, and as he speaks, we MORPH through faces: One Armed man to Man from Another Place to Bob to Leland to Windom Earle to evil Dale to Laura, each face growing in fury, insanity, blood, contortion, shrieks, saying: ALL (backwards speak): "F-i-r-e, w-a-l-k w-i-t-h m-e!" The final shriek of Laura AUDIO BLENDS into an owl's screech. Then a dozen screeches simultaneously.

EXT. GHOSTWOOD FOREST AND SKY - NIGHT

The tapestry of the douglas firs oscillate in ripples and billows of the night breeze.

EXT. GHOSTWOOD FOREST - DIRT ROAD INTERSECTION - NIGHT (CGI)

A circle of twelve owls silently watch the dark intersection, with three showroom 2016 Trans Am racing cars (red, black, green) parked in the woods. An old two tone green and brown 1972 Ford pickup truck pulls up, drops Leo Johnson off, drives away. In sunglasses and with his greying long hair in ponytail. He goes to the intersection. LEO: "Keys!" Thugs emerge from each Trans Am. Leo points to black one. LEO: "Keys!" Thug tosses keys to Leo. LEO: "Leave!" Thugs enter remaining cars and begin to pull out, as we now see from above intersection, the flapping owls forming a 'clock's face' at its 12 hour points, and the cars driving away, trailing dust at 12:00 and 3:00 o'clock. MATCH SHOT TO:

INT. NADINE & MIKE'S HOUSE - ANGLE ON CLOCK - NIGHT

Clock reads 3:00 a.m. We see the red long trailing curls of Nadine Nelson from behind as she lifts her patch. She seems to weep. She removes her patch, drops it to floor. Door opens, Mike in paramedic uniform. MIKE: "Oh my god, I am not working another f*cking night shift, I-" He is impaled against the wall as Nadine almost tackles him. NADINE: "Oh Mike, I can see, I can see, I can see!" Mike grins, removes a medical flashlight and tests the new eye. Nadine's sparkling chestnut eyes. Smiling broader, they kiss.

EXT. WOODS - ESTABLISHING - LATER - DAWN

Thunder rumbles in distance. Douglas firs swaying. From the trees, we see the mist of the Great Northern waterfall, then the Great Northern, then, through the open bay window, Johnny's sculpture of Laura.

INT. GREAT NORTHERN - BANQUET HALL - DAWN

Johnny, Audrey, and Donna sleep in nightgowns and PJs on floor in a makeshift camp out. Sleeping bags, cushions, pillows. We see Johnny's headdress parked atop a totem pole. The feathers ruffle as a light breeze blows in through bay window.

EXT. PALMER HOUSE - LATER - MORNING

A cherry red 2010 Ford Toyota Highlander Hybrid SUV pulls up with the Double R logo: a ridged golden pie circle, the crust removed to form 'RR' in red glowing rich cherries, glistening with filling.

INT. PALMER HOUSE - LIVING ROOM - MORNING

Betty Briggs and Eileen Hayward, in wheel chair, sit with Sarah, holding hands. The ladies do not touch their steaming coffees. BETTY: "Sarah, we have to believe Laura is in heaven." Sarah nods, lips quivering. EILEEN: "Will said your heart is strong, but all this stress you're putting on yourself isn't good for you and wouldn't make Laura happy." Knock at door. Eileen wheels over to answer it, as Sarah looks toward ceiling fan. Norma in her Double R uniform at door, enters with Meals-on-Wheels tray. NORMA: "Sarah, I thought I'd stop by personally to update your diet card." Sarah extends her arms, and when Norma attempts to give her the tray, Sarah brushes it aside, and embraces Norma. NORMA: "But the real reason I stopped by is to tell you, um, I don't know how to say this..." Sarah smiles. NORMA: "...but five people say they saw Laura last night." Sarahloses her smile, nods and barely voices: SARAH: "Six." Betty nods and Eileen shakes her head. EILEEN: "Norma! Don't upset her with crazy rumors!" Sarah looks to a glassy eyed Betty. BETTY: "Garland ..." Ceiling fan stops, Norma notices. SARAH: "Bobby, Donna, Shelly, James." Betty nods, weeping. Sarah comforts Betty. SARAH: "Now, Beth, sh-sh-sh." Sarah removes lid on meal, grabs boysenberry pie, takes bite. SARAH: "Oh my!" Sarah eats entire piece. Questioning looks from other women as they watch. Sarah sips her coffee. Sarah sighs deeply, smiling warmly. Norma smiles big. Sarah pounds the wall. Ceiling fan starts.

EXT. SPARKWOOD & 21 - LATER - DAY

A work crew repairs light. Hawk takes pictures of broken glass and odd burn marks from previous falling sparks, showing an arrangement looking like a tower of burn marks, with red glass forming an image of flames around the tower's base. MATCH SHOT TO:

EXT. PACKARD MILL RUBBLE AND SMOKE STACK - DAY

The tower is wrapped in plastic at its base. Nearby, a fallen dilapidated faded sign: 'Future sight of the Ghostwood Country Club and Estates.'

EXT. PACKARD HOUSE AND LAKE - DAY (CGI)

We see the tiny Great Northern in the extreme distance, then across the entire expanse of the upper lake of Twin Peaks, the log. The huge log beside which Laura was found 25 years ago. On the shore, the exact spot, we see it swarming with newly hatched ticks. A crow lands and pecks them up, one by one.

INT. PACKARD HOUSE - LIVING ROOM - DAY

Within the rustic walls, fine furniture and elegant lavish furnishings, Catherine Packard Martell talks on her cell phone: CATHERINE: "I don't care if its just vandalism, I want it investigated!" Muffled sound on phone. "It was my house that girl was found wrapped up like that, like a fish! They are mocking me, and so are you!" She hangs up, opens a drawer on a bureau, and removes a Taurus 45 revolver, engraved 'The Judge'. She checks the six bullets in the cylinder, and slaps the cylinder closed. She dons a full length red fox fur, and places the Judge in her pocket. She sets a security code, and exits front door. The security pad flashes red: 'ARMED.'

EXT. TWIN PEAKS TOWN ROADS & EASTER PARK AND INT. CATHERINE'S CAR - LATER - DAY

Catherine drives a black 1951 Lancia Ardea, a powerful looking former armored car. She drives by Easter Park, and slows, as she sees a cloaked woman in white in the gazebo pointing at her from the gazebo, moving her point as Catherine's Ardea passes. CATHERINE: "F*cking lunatics. Lunatics. This town is swarming with lunatics!" The Ardea keeps moving.

EXT. EASTER PARK - AT GAZEBO - DAY

Cloaked woman turns, her hood looking like Laura's plastic cloaked face. Ronette Pulaski. RONETTE: "Don't go there..."

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - PARKING LOT - LATER - DAY

The Ardea is parked in the shade of the graveyard's fluffy Scotch Pines. More rumbles in the far distant clouds.

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - DAY

Catherine stands at a tombstone: 'Pete Martell'. CATHERINE: "Oh, Pete, why? What's wrong with this town!?" As she hangs her head, we travel up and over many graves, until we descend to a pile of dirt. The dirt is by an open grave. The tombstone is tipped over. We see the name on the tombstone: Laura Palmer. Next to Laura's fallen stone, the standing gravestone: Leland Palmer. We FADE into:

INT. TWIN PEAKS HIGH SCHOOL - STOCK FOOTAGE - DAY

We see the trophy case with Laura's photo, as we hear excerpt of Harriet Hayward's poem: HARRIET (stock, VO): "It was Laura. ... and I saw her glowing ..." Gersten Hayward's music (Mendelssohn, stock) plays in background. HARRIET (stock, VO): "...In the dark woods, I saw her smiling. We were crying, and I saw her laughing. In our sadness, I saw her dancing. It was Laura, living in my dreams."

EXT. GHOSTWOOD FOREST AND SKY - DAY

Gersten's music fades as we pan over the spring verdure of Ghostwood forest. Rumbles of thunder. As we travel over the trees, and deeper into the forest, we stop before a train track and the glistening tracks' reflected bright sunlight. The track is sandwiched deep between the thicket of the woods. Farther down, several abandoned train cars rest on their sides, off tracks, overgrown with forest greenery.

INT. TRAIN BOXCAR - STOCK FOOTAGE - NIGHT (CGI)

Laura screams as Bob stabs her. FADE to INT. BOXCAR - PRESENT DAY - DAY, turning ninety degrees, showing car is rusted, laying on its side, off tracks. Through the open end the boxcar, we see a figure outside, the unmistakable silhouette of Agent Cooper. As we move closer, we see the blended face of Cooper-Bob in flashes.

INT. PALMER HOUSE - CEILING FAN AND STAIRS - DAY

Sarah smacks the fan control box, it pops off wall, as 3 fluttering pages fall, revealing missing pages of Laura's secret diary, face down on the floor. Sarah picks them up, silently gasps, and slightly crushes them to her bosom. She shutters.

EXT. EASTER PARK - AT GAZEBO - DAY

Ronette has her still pointed hand out, then snaps her finger ala Laura's snap in the Black Lodge 25 years ago.

INT. DOUBLE R CAFÉ - CONCURRENT - DAY

Major Briggs and the Log Lady both look up. Before the two, coffee and apple/raspberry pie, not whole raspberries, but raspberries separated into tiny fruitlet beads. GARLAND: "It's time, Margaret." LOG LADY: "No, first the pie, then the log will burn." GARLAND: "Margaret, are you sure?" LOG LADY: "One does not question the Log, nor its intentions." GARLAND: "Fair enough, the pie." Norma pours coffee, smiling. NORMA: "Ready for the check, folks?" LOG LADY: "No. Twelve more pieces, cut from the same pie." NORMA: "Margaret you know we cut our pies in six pieces." LOG LADY: "Twelve." A clock on the wall clicks to 12 noon.

S3:E1: ACT THREE

EXT. SHERIFF'S STATION - HARRY'S OFFICE WINDOW - DAY

We move slowly into INT. HARRY'S OFFICE through window to Harry's buck deer trophy. Caption underneath the trophy: 'THE BUCK STOPPED HERE.' Harry's office shows a lifetime of Twin Peaks memorabilia: Native American totem lamp, a picture of Josie Packard, his chessboard in mid game, books on law enforcement next to nature guides next to copies of the Twin Peaks Gazette. Fishing poles resting against a locked fire arm cabinet. Midday sun showering in, the lightest breeze lifting papers here and there. Harry lightly snoozes in his chair. COOPER (stock, VO): "...a catnap in your office chair..." Harry wakes suddenly. Hawk stands watching. HARRY: "Hawk...?" HAWK: "You were dreamquesting. I was your spirit guide." HARRY: "What?" HAWK: "Signs are appearing, Harry. Just as the bear, the wolf, even the salmon leave impressions on their habitats, so the spiritual world leaves signs. It's time for war paint." HARRY: "War paint? Signs? Honestly, Hawk, what signs?"

EXT. SPARKWOOD & 21 - DAY

The Sparkwood & 21 street sign shows two yellow dots graffitied in the o's in Sparkwood. Closer to the sign - Bam! It's bashed off its wooden post by an aluminum bat, and as we stay on the shattered post, the perpetrators and their vehicle are not seen, but we HEAR LAUGHTER of men and women over sound of squealing tires. Squealing turns to:

INT. CALHOUN MEMORIAL HOSPITAL - NADINE'S ROOM AND HALL - DAY

Squealing wheel of gurney, as it is pushed by sign: 'Room 315 Exam: Special' then passes Mike, folded arms, in hall, just within earshot of Nadine, who is being examined by Doc Hayward. She regards herself in a hand mirror. DOC HAYWARD: "This beats me, Nadine. Because you've never let that patch leave your face, except for your husbands and me, its either a bona fide miracle, or maybe it just healed under there all this time. Although a rational, younger doctor might suspect stem cell rejuvenation through some godforsaken cloning process, which is why I'm sending this sample in to get its epi-genomic history. They'll know if this is new tissue or ... I don't know ... But two things I do know: one, you have 20/20 vision in that eye and, two, I'm not equipped here to do all the optometric tests-" NADINE: "I'm a princess now." Nadine's sparkling chestnut eyes. In hall, Ed turns corner and walks by Mike. MIKE: "What the f*ck are you doing here?" ED: "Not that's its your business, but my daughter just gave birth, friend." MIKE: "Oh, Ed, I'm not your friend. Say anything to make Nadine feel bad, and I will end you, Ed, my friend." At a distance, we see the two men, reflected and warped in the hallway intersection's security mirror. Both men do not move.

EXT. SKY ABOVE TWIN PEAKS - DAY (CGI)

Within a cloud, with glimpses of the town below. We see the strange 'miracle moment' when enough microdroplets merge to form a droplet heavy enough to fall as rain. Reflected in this floating droplet: the microdroplets clustering toward it, the cloud, a catalyst dust particle, Twin Peaks. The drop falls.

EXT. PACKARD TOWER - DAY & NIGHT (CGI)

We see the tower, wrapped in plastic, the Ghostwood sign, then we RAPIDLY REVERSE TIME, the sign rejuvenates, and the mill is unburnt in seconds. CATHERINE (VO): (maniacal laughter). We REVERSE again to the present. Catherine's Ardea screeches up near tower and plastic. CATHERINE (VO): (maniacal laughter) as laughter, her peeling out, and the screech of an owl mix.

EXT. DOUBLE R CAFÉ - DAY (DRONE CAM, CGI)

We whip from quick reflections: rain pool reflecting café window reflecting car rearview mirror reflecting droplet of dew on cold drink reflecting pedestrian's watch (6 o'clock) reflecting the two red neon R's of the Double R. Quick mirrored reflections: 4 R's, upside-down, backwards, both, only top halves of R's reflected, resting on a merger of one R reflected on its spine: forming an odd double headed R with two tails.

INT. DOUBLE R CAFÉ - CONTINUOUS

Clock reads 6. Heidi giggles. She yells to the back. HEIDI: "I'm off!" She turns to laughing customers, looks both ways, and produces two slices of huckleberry pie, serving them quietly, giggling. She makes a shh gesture, then pretends to pick up both pies and smash them into her own face, giggles, then the customers' faces. Giggles. HEIDI: "So I tell those nasty boys I'd put razor blades in pie anytime they came back defacing that photograph Laura. Photo was fine, but faceplate was destroyed. That's when I threw pies at their crotches." She giggles more, then suddenly serious. "But it's not funny to be called a 'Laurite.'" Customers stop laughing. HEIDI: "So I yell, 'I'm German! I'm a reformed Laurite!'" More laughing, giggling. SKETCHY CUT TO:

INT. UNKNOWN RESIDENCE - DAY

We see a flat screen TV with static snow. An ad pops on showing: EXT. TWIN PEAKS WOODS - DAY. ANNOUNCER (VO, BEN): "If you loved 'Invitation to Love,' you'll cherish 'PINK SWEAT,' shot and set right here in Twin Peaks, featuring faces you know and love, on a roller coaster of love, death, and, my oh my, the intrigue! Unlike anything else in the universe. Evolving exponential entertainment. Coming soon to all media." More snow.

EXT. WOODS - DAY (CGI)

Garland and Log Lady stand by large campfire. As smoke drifts down the hill, we see Hawk and Harry ascend the hill toward them. Hawk turns to Harry. HAWK: "These signs." They arrive at fire. LOG LADY: "You're twenty one minutes late, so I will be brief." She hands out pitch gum to chew; they do. LOG LADY: "The log must burn tonight. Five are here (pats log), One is new, Five can listen, but cannot see or hear. And the final One is One to One." Margaret unceremoniously tosses her log into the fire. Harry almost grabs it and Hawk stops him. Embers fly up then swirl. The entire forest behind them blurs and spins. Garland, Harry, Hawk, Margaret at four compass points around swirling fire, rife with crimson streaks in orbits about the four.

EXT. WOODS - GLASTONBURY GROVE - THE POOL - DAY (CGI)

We see the alkali encrusted pool of tar, and as we travel below the ground, instead of dirt, INT. BLACK LODGE, empty save the chevrons and shades. Each world filling half our view. This view rotates 180 degrees, and becomes its OPTICAL NEGATIVE, then BLACK & WHITE (optical negative), then fades to white.

EXT. WOODS - OLD MILL ROAD - DAY (CGI)

Street sign: 'DEAD END' & 'Old Mill Road'. Leo's black Trans Am pulls up. Leo exits. He looks around. Lights a smoke. An owl hoots. He pulls a black Taurus PT1911 semi-automatic 45 ACP, and aims at owl. His gun wrist is grabbed. LEO: "What the f*ck!" Leo punches assailant. Leo recognizes that he is facing a snarling, sneering, grinning 'Evil Dale.' LEO: "You!" EVIL DALE: "No. You." Leo struggles, kicking and punching with his free arm to no avail. EVIL DALE: "Welcome to the Black Lodge." As Evil Dale bursts into flames, a parliament of owls descend on the two, and when the owls disperse, only Leo remains. Leo looks up, savage, his face MORPHS between Leo and Bob. Leo-Bob tears the hair tie from his pony tail, throwing his hair around his savage face. LEO-BOB: "I promise I will kill again. And again. And again."

EXT. WOODS AND SKY - CONTINUOUS

Panoramic above Ghostwood forest, the trees in heavy wind. We see over the upper lake to hills choked with douglas firs. As our view pans, the sun glints and reflects off something on a far opposing cliff.

EXT. WOODS & GREAT NORTHERN - DAY

Special Agent Dale Cooper has his 25 year old tape recorder out, ready to speak. Cooper's left pinky ring and the recorder's plastic face glint in the sun. Cooper is dressed in his immaculate FBI suit and tie. Cooper breathes in deep. Exhales. Smiles. COOPER: "Diane, I've emerged from the Black Lodge, I believe it to be 25 years later, and I know how to stop the murderer of Laura Palmer. I know how to save Laura. Incredulous as that sounds, and if this device is working, Diane, I bring clues from the Black Lodge." Cooper breathes in, exhales. COOPER: "Diane, I'm on a cliff, above and to the northwest of what I believe to be the Great Northern Hotel, some change to its architecture. Damn fine coffee! Diane, I have returned to those douglas firs! I have returned to where life has meaning. I have returned to Twin Peaks." Cooper clicks his fingers to music.


	2. Full Blossom of the Evening

(Fourth Edit 6-27-18)

TWIN PEAKS: EPISODE 2: "FULL BLOSSOM OF THE EVENING"

S3:E2: TEASER

EXT. GREAT NORTHERN & DOCKS - MORNING

Caption: 'February 25.' To the west of the Great Northern docks and waterfall, we see the Great Northern and the windows of the Banquet Hall glinting in the early morning sun. Through the open windows, the fruit sculpture of Laura.

INT. BANQUET HALL - CONTINUOUS

Johnny stares at his fruit sculpture. Johnny's long hair trails out from his Native American headdress in disheveled unruly tufts over his expressionless face. A fly lands on the black cherry pupil of the orange slice kiwi iris of the honeydew melon sclera of 'Laurasculpture's' left eye. Cooper crawls over railing, through window, slinking almost Bob-like. Johnny doesn't react. Cooper stands, dusts off his trousers, smiles. Cooper snaps his finger, points. COOPER: "Johnny Horne!" Johnny doesn't look up. JOHNNY: "Coo-per." Johnny stands and walks to Cooper, putting his headdress on Cooper, Johnny's hair a wild mess. Jacoby turns in a chair, wearing his signature red-blue coke bottle glasses, smiling. DOC JACOBY: "He's never done that for anyone. You're special, Agent Cooper." COOPER: "Thank you Johnny. And Doctor Jacoby, you're still helping Johnny. Aces." JACOBY: "I have a private clientele now, limited to special people." Jacoby leans forth, gestures to Cooper. DOC JACOBY: "People like you, Agent Cooper, who sense special things, the feng shui." COOPER: "The Black Lodge is not special, Doctor, it is beyond wrong. But I must get to a phone." We fade out on Jacoby, his eyes excited under his dual tone shades. MATCH SHOT:

INT. BLACK LODGE (CGI)

A being FADES in. We see the being, half Phillip Jeffries (left) half Chester Desmond (right), like something out of a hall of mirrors. In fact, though we are in the empty red room of the Black Lodge, reflections dance over them as if they were mirrors. Another being, half Maddy Ferguson (right) half Laura (left). The two beings walk to face each other. The white-eyed doppelganger of the Man from Another Place watches excitedly. MAN FROM ANOTHER PLACE (backwards speak): "Parts and pieces." He loses his expression as Theresa Banks enters from the red curtained corner of the room, sauntering, dancing, lilting in grotesque swoons. THERESA (backwards speak): "Dust to ashes, ashes to dust." Theresa performs her strange dance as she circles the dwarf and the two merged beings. PHILLIP-CHESTER (backwards speak): "Dust to ashes." MADDY-LAURA (backwards speak): "Ashes to dust." As Theresa continues her dance, the mirrorhouse couple reflect her more and more, until they are only dancing silhouettes of reflections and refractions of Theresa. The Man from Another Place rubs his hands around an invisible sphere.

INT. WHITE LODGE (CGI)

Dry ice curtains, fractal floor. Giant, Cooper, Garland, and the Log (no Log Lady) sit in four vine encrusted thrones. Fractals grow into vines. Vines grow into fractals. GIANT (simulwards speak): "The One-Legged Woman." The greening vines cluster and undulate and thicken, growing over the four. Blend greenery to:

EXT. GHOSTWOOD FOREST - MORNING

The greenery of the woods. Below the swaying trees, Leo stands by his new black Trans Am. He looks at his watch. Leo startles as a megaphone blares. CATHERINE (megaphone, VO): "Hands in the air." He does not comply, but grabs his Taurus semiauto, waving it, searching the woods for the locus. We hear dozens of rifles and guns cock. He raises his arms.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E2: ACT ONE

EXT. DOUBLE R CAFÉ - LATER - DAY

Looking through window, dark café. A half-eaten slice of strawberry rhubarb pie, two forks stabbed in it. As we pull back, we see a sign taped to the door: 'Closed for emergency town meeting! –Heidi!' Sign is suddenly ripped off window by unknown person. Strange giggling.

EXT. TWIN PEAKS TOWN HALL - DAY

A modest domed building. We see townsfolk entering the double doors of the Town Hall.

INT. TWIN PEAKS TOWN HALL - DAY

Along tables on stage: Harriet Hayward, Fire Chief Joey Paulson in dress uniform, Andy, Cooper, Principal George Wolchezk. Bobby stands by back door in uniform. In audience: Gersten Hayward, Eileen, Doc Hayward, Ben, Sylvia, Ed, Norma, Shelly, Heidi, Betty, Ronette, among many. Andy stands and holds up his hand for quiet, people look back to light switch (no Log Lady), so Betty stands and clicks lights. ANDY: "Hello everyone, I'm Deputy Chief Brennan, please mute your cell phones. Here is Mayor Hayward." Harriet pounds gavel, reads from teleprompter. HARRIET: "I am going to tell it to you, and I am going to tell it to you straight. I am here to announce extraordinary emergency measures that the Twin Peaks Town Council have passed unanimously. Effective immediately, a midnight curfew is in place for all mirrors (clears throat) all minors, typo. We are doubling patrols at all schools, as well as dusk-to-dawn patrols. Yesterday, the corpse of Laura Palmer was grave-robbed, and-" Audience tumult grows loud. HARRIET: "And ... and ... People, we need quiet. Excuse me, Agent Cooper will explain." Betty clicks lights. Harriet sits, slightly shaken. COOPER: "Just Mr. Dale Cooper, former Special Agent, Federal Bureau of Investigation. For reasons I cannot discuss, let me briefly state that your lives, your way of life, and your children's lives are under imminent threat, just as they were 25 years ago tonight. It is happening again, but this time, we may be able to prevent any deaths. Even though, and I must be clear, this current threat may involve an entire network or cult of murderers." Audience grows turbulent. "We believe the current spike in vandalism and the desecration of Laura Palmer's grave are linked to a network of other criminal wrongdoing, financial malfeasance, distribution of never-before-seen hallucinogenic narcotics, assault gun trafficking, kidnaping, poisoning, torture, dark arts, murder." Everyone at table stunned. Audience still.

INT. HALLWAY OUTSIDE TOWN HALL - DAY

Sarah Palmer's hand knocks on double doors. Door opens to INT. TOWN HALL and Betty. Sarah enters, clutching missing pages of diary to her heart. Cooper gives big grin. Andy stands. ANDY: "Agent Cooper, it's Sarah Palmer!" Audience murmurs as she approaches tables and gives Cooper missing pages. Cooper leans forward, smiles, and whispers. COOPER: "Thank you, Sarah." Cooper raises hand. Quiet. COOPER: "You have an opportunity starting tonight to join your neighbors. Watch, stay alert, and help your authorities stop suspicious activity. Not just a neighborhood watch, an entire town watch. I am told everyone possesses camera phones these days. Aces. Bringing light to acts of evil stops evil." Garland, Hawk, Harry, Log Lady (with black but unburnt log) enter, covered in soot, the men looking stunned. More noise. Log Lady clicks lights until noise ends. Cooper gives big grin and thumbs up. Harry barely manages a thumbs up, Hawk gives half of a Bookhouse Boys sign, Major Briggs with a perma-salute. Log Lady rolls her eyes. LOG LADY: "Men." All four still chew pitch, now in unison. ANDY & COOPER: "That gum you like is going to come back in style." Andy and Cooper exchange glances. ALBERT (VO): "So get out your torches and pitchforks, folks." Albert Rosenfield rounds corner, enters, waving badge. ALBERT: "Special Agent Albert Rosenfield, Federal Bureau of Investigation." Crowd louder. Albert marches past still motionless Hawk, Garland, Harry. ALBERT: "Sheriff." Sun glassed female FBI agents follow. ALBERT: "Dale Bartholomew Cooper, this is a federal gag order." Albert waves order, marches. "It forbids you from discussing anything you may know concerning any current or past, open or closed FBI cases, until such time, if ever, you are debriefed and authorized to discuss such." COOPER: "Albert! Welcome!" Cooper extends a hand. Albert shoves letters in it. "Your final paycheck, severance, pension, retirement benefits, et cetera. A federal warrant for seizure of FBI property. Oh, and a series of legal problems resulting from your purchase of land here 25 years ago. I did all I could on that one, Coop." Bobby exits, Andy sees him. Albert takes diary pages out of Cooper's hand. ALBERT: "But hey, Cooper, not all's lost, maybe after the hayseed hootenanny and witch burning, we can throw a hodown on that swampland you bought." COOPER: "Thank you, Albert. Let's get to work." Cooper gives thumbs up.

S3:E2: ACT TWO

EXT. SPARKWOOD & 21 - LATER - DAY (CGI)

All stoplights blinking red, all directions, and although broken stop light has new bulb and blinks, two sparks fall. Our view shutters rhythmically as unseen nearby train passes.

EXT. GHOSTWOOD FOREST - OLD MILL ROAD - DAY

Far off sound of train passing. Leo is shackled, wrist and ankle. Two thugs hold him. More thugs with guns and rifles pointed. LEO: "I'm a free man! I paid my debt!" We see a black mink-clad Catherine, a ring of more thugs surround her. CATHERINE: "Not to me you haven't. True, I got the insurance money, inherited the land, and I won my civil case against your boss, that villain Benjamin Horne, but false! You have not yet begun to pay me! Nor has this town begun to pay me its due! It's going to be the Fourth of July!" Catherine motions and one of her thugs comes forward with a strange steel collar, open like a clamp. The outer collar is composed of grids of black Kevlar reinforced interlocking snaking braided conduits of titanium steel. The inner collar showing raw copper exposed electrodes, medical patch relays, odd folded encased scalpel tips, micro-syringes, micro-rotating red laser emitters. Leo looks terrified. CATHERINE: "You remember! You remember being a little lab rat for that maniac Windom Earle! Except this time, if you try to tamper with or break your dog collar, it'll be excruciating. Until you pass out and p*ss and sh*t yourself like that plastic girl! Hell, all bodies, all corpses will do that!" Catherine cackles, steps back. CATHERINE: "Oh, and there's a GPS in there, and a few other fun things that are..." Catherine regards her fire engine red nails. CATHERINE: "...well, secret." Leo struggles as he is fitted with collar. The snaking ends of the collar telescope into the conduits of the other half. We hear the steel ropes tighten within their conduits. Once he is fitted, Catherine waves. Leo is fuming. Thugs remove Leo's shackles and cuffs. He lunges for Catherine. She stands her ground. Leo careens to the ground, seizing, amid taser clacking and sparks from the collar.

EXT. GHOSTWOOD FOREST & SKY - CONTINUOUS

Above the shaded douglas fir forest, we hear Catherine's shrieking laughter echoing in the woods. In the far distance, the caboose of a passing train disappears in the woodland wilds.

EXT. THEN INT. ONE EYED JACKS - DAY

Unknown woman's red-laced hand deals tarot card: The Tower.

EXT. PACKARD TOWER AT SUMMIT AND SKY - DAY

From this vantage we see the former logging inlet, overgrown and gloomy. Turning from the lake toward the base of the tower, clear of plastic, then to the woods of Ghostwood Forest and its beckoning trees.

EXT. BOOKHOUSE - DAY

We see the remote almost shunned-looking cottage-like Bookhouse, nestled in douglas firs and ponderosa pines and lodgepole pines. James' Electra Glide is parked out front.

INT. BOOKHOUSE - THE IMMEDIATE PAST - DAY

In the rustic almost antiquated cabin's interior, we hear Harriet pound gavel. HARRIET (VO): "I am going to tell it to you..." Harriet's voice fades. The cramped shadowy circumscribing corridor of the Bookhouse is filled with shelves of books sandwiched around small booths snaking around a spartan bar, a door behind which reads 'Reading Room'. Donna enters bookhouse. James, at bar, stands. She runs to him and hugs him. Uncomfortable, he breaks hug early. DONNA: "James, I'm so scared." JAMES: "Donna, don't be, you're safe." DONNA: "James, thank you for seeing me. I know Shelly would be-" JAMES: "I told her the truth, I had to be at the bookhouse (whispers) but she's a Bookhouse Girl, she's going to find out." Donna grabs James' hand, he withdraws. James prompts Donna on the waist to an empty booth mid many empty booths. They sit across from each other. DONNA: "James, you and I saw Laura, and that same day, the FBI, your aunt's eye, and aunt- Mrs. Palmer. And Leo. I know about Leo, James." James is taken aback. JAMES: "What about Leo?" DONNA: "He's out." JAMES: "Everyone knows that." DONNA: "It's just something Audrey said about Laura." JAMES: "Audrey Horne?" DONNA: "Um, yes, James, my half-sister. Audrey said Johnny, our brother, hadn't been this calm since Laura worked with him all those years ago. He made this face of Laura out of fruit." James smirks. DONNA: "Then he kept saying 'Coo-per.' And James, Johnny's been standing on his head. Johnny only did that 25 years ago, whenever he saw Leo. Then Audrey got weird. She said she thought somehow Johnny had recently seen Leo, Cooper, and Laura. And James, Audrey looked me square in the eyes and said, she said ..." FLASHBACK INT. GREAT NORTHERN - BANQUET HALL - YESTERDAY - DAY. Johnny's sculpture in background. Audrey strokes Donna's face. AUDREY: "You have Laura's touch with Johnny. And that's the part of Laura I loved." END FLASHBACK. DONNA: "James, Johnny calls me Laura." A tear rolls down her face, James wipes it away. He brushes the hair from her downcast face.

EXT. TWIN PEAKS TOWN HALL - CONCURRENT

We see up the cement steps leading to the Town Hall's front entrance grand double doors. Farther down the block, we see a Sheriff's cruiser parked, engine off.

INT. BOBBY'S CRUISER - DAY

Mike sits with Bobby, Bobby in uniform, Mike in civies. MIKE: "Crap, Bopper, you want to talk now! What the-" BOBBY: "Listen, Snake, Leo's back." MIKE: "He ain't coming back here, his house was sold and bulldozed, he-" Bobby grabs Mike. BOBBY: "Shut up! He's back, Audrey told me." Mike rolls his eyes. MIKE: "You're still f*ckin' mixed up with Horne and his little-" Bobby almost chokes Mike with his jacket collar. BOBBY: "Say the wrong word, Mikey." Mike backs down, and ekes out: MIKE: "Okay." BOBBY: "I'm not getting fired, I'm getting my sh*t, I'm gonna take Leo's severed f*cking head and drop it at the feet of that manipulative bitch and tell her to get the f*ck out of _my_ hotel!" Mike smiles big. MIKE: "Nadine can see again." Bobby looks flabbergasted. BOBBY: "Yeah, I saw Laura." Mike looks dumbfounded.

EXT. TWIN PEAKS TOWN HALL - CONTINUOUS

We see Mike and Bobby, staring forward. The cruiser starts up.

EXT. SHERIFF'S STATION - LATER - DAY

Another cruiser parked beneath station and iconic wooden sign, 'TWIN PEAKS SHERIFF'S DEPARTMENT' in brown wooden letters trimmed in raw wood stained bright green.

INT. SHERIFF'S STATION - HARRY'S OFFICE - DAY

Harry and Hawk, faces wiped but not clean of soot, stand with Albert, Andy, and Cooper. Albert turns to Harry. ALBERT: "Sheriff Truman, I am required to inform you that the FBI is conducting an investigation in your jurisdiction. Sometimes local law-" HARRY: "You're the boss, Albert." Albert briefly hugs Harry, dusts soot off. ALBERT: "Thus, the love. The rest is for your and Cooper's eyes only." Hawk and Andy exit, and once gone, Albert points over his shoulder. ALBERT: "Why isn't the dumb one covered in dirt or tar or feathers?" Harry turns to Albert, angry. HARRY: "Albert, those are my Deputy Chiefs, and you will show them respect!" ALBERT: "It's a little hard listening to you with your clown paint on." COOPER: "Albert!" ALBERT: "Be that as it may, we have to get to that grave site before the local yo- law enforcement mucks-makes... I don't want this. I want to-" Albert hangs his head. COOPER: "Albert, I've never seen you flustered before!" Harry pats Albert's shoulder. HARRY: "That's alright, Albert." Cooper stares out window.

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - LAURA'S GRAVE - LATER - DAY

From beneath the branches of the cemetery's columnar promenades of douglas firs, we see the open grave of Laura, stone still tipped, roped off with police tape. Standing around the tape, Albert and Cooper. Hawk examines broken blades of grass, footprints, trail leading from grave, wetness/graininess of dirt, shovel marks. ALBERT: "I'm delaying your debriefing, Coop, until we finish forensics on the grave. It is out of my sheer fascination with your morbid curiosity that you are here, Cooper. And where the hell have you been for the past 25 years?" HAWK: "Three hundred moons." Albert rolls his eyes. Albert inspects ground and coffin. ALBERT: "At least four perpetrators, wearing the same style work boots, most likely men. Standard 9 inch rounded point shovels." HAWK: "Paint chip." Albert bags a tiny fragment. ALBERT: "Good eye, Deputy Chief. They covered her in a cloth, and rolled her over inside the coffin, you'll note the same fibers..." Albert bags fibers. ALBERT: "...and these fresh stains. I'll need a sample of the dead girl's DNA to match it to the coffin." Cooper stoops near ground. COOPER: "Albert, one of these men was left-footed." Cooper regards the gravestone, prone in the grass. COOPER: "Laura." Cooper walks closer to stone. He notices something. COOPER: "Albert!" Albert removes object in dirt with tweezers, a feather, which he bags. ALBERT: "Told you, a good old fashioned tar-n-featherin'." Hawk examines feather. HAWK: "Owl. Cooper, yesterday, the Log Lady said, 'The crow and the hawk kills the owl, the pies are all that they seem, and sparkwood burns to ashes." Albert sighs. COOPER: "Yes, Sarah Palmer's vision, I was there. Pies! The last piece." Cooper wanders off. ALBERT: "I told him not to drink the water." FADE TO:

EXTS. TWIN PEAKS STREETS - MONTAGE - DAY

Cooper, smiling, walks, clicking his fingers. Every fourth click, walks by: entrance to Ghostwood Memorial Graveyard, 'Route 21 & Ghostwood Memorial Graveyard Boulevard' street sign, Martell's Timber Falls Motel, 'Sparkwood & 21' street sign, Tim & Tom's Taxidermy, 'Sparkwood & Lumberjack', Mo's Motor, 'Sparkwood & Division', Lydecker Veterinary Clinic, 'Division & Northern', Double R Café.

INT. DOUBLE R CAFÉ - LATER - DAY

Shelly, Norma, Heidi giggle behind bar. Cooper sits across from Log Lady and Garland, finishing third piece of blueberry pie. LOG LADY: "I'm not here of my own accord." COOPER: "I apologize, Margaret, if I have made you-" LOG LADY: "Don't be silly, the Log made me be here." Cooper sips his coffee. GARLAND: "Former Agent Cooper, I need to be clear and concise with you at the earliest opportunity under secure enclosure." COOPER: "I understand, Major, but I am no longer-" GARLAND: "An employee of the federal government? Yes, but what you are is a legacy. Cooper places his fork on plate, plate on other two plates, wipes his mouth. COOPER: "Legacy?" LOG LADY: "A legacy citizen of Twin Peaks." GARLAND: "There are some very old laws here." Cooper smiles. COOPER: "Stranger and stranger." We see Albert walk by the windows outside, Garland notices. Albert enters and walks toward Cooper. GARLAND (whispers): "Legacies are allowed to form militias, that's how the Bookhouse Boys got started." ALBERT: "Okay, Cooper, come with me. I don't want you joining or rejoining any vigilante swarm." COOPER: "Albert, the Bookhouse Boys are not vigilantes, they are key to our town watch, our town watch is key to our safety, and our safety is key to defeating every part of this entire network of evil and lawlessness." ALBERT: "That's a lot of keys." Log Lady pats log, faces Albert. LOG LADY: "You have a strange comical fiery exterior, but an even stranger exotic firestorm interior. Don't worry, only you and I can hear me." ALBERT: "Okay, Ma'am. I'll let everyone know at the asylum's square dance." Garland and Cooper give questioning looks at Albert. Log Lady is not facing Albert, but blankly chews pitch. GARLAND: "Sorry, Ma'am." Log Lady spits pitch in air, Cooper snatches it out of the air like a man half his age. COOPER: "Margaret, that's disgusting. May I keep this?" Margaret nods blankly, strokes her log. We see the grain of the wood, now clean of soot, looking as if it had never been burned, its two tiny branches, unscathed.

EXT. GHOSTWOOD NATIONAL FOREST - DAY

We see a sign, 'Ghostwood National Forest' 'United States Department of the Interior', and an empty parking lot save a violet 2014 Tesla Model S parked next to a deep blue 2013 Ford Expedition SUV. Within the nearby douglas firs, we see Nadine and Betty birdwatching through binoculars. Marsh wrens twitter, grey jays chirp, house sparrows chatter. Gersten, her binoculars slung, examines a bloody house sparrow, wrapped in handkerchief. Nadine lowers her binoculars, smiling broad. Nadine's sparkling chestnut eyes. NADINE: "My depth perception works! I see deep." Betty smiles. BETTY: "Seeing is believing." Betty points into woods, showing Nadine her new spotting. Nadine tracks the point, smiling broad. Gersten takes the dead bird to Doc Hayward, sitting in the passenger seat of her sporty purple Model S. GERSTEN: "Dad, the pathology of this sparrow is unlike anything I've ever seen. Owls attacking, killing, but not eating prey?" Doc Hayward looks closely at sparrow, through his readers. GERSTEN: "Except these birds have their eyes torn out." Doc Hayward looks slightly shocked. GERSTEN: "It's like out of a fairy tale. Cats don't do that, even at play. Definitely an owl, it died from numerous shallow wounds." INSERT DOC HAYWARD FLASHBACK - 25 YEARS AGO - INT. SHERIFF'S CONFERENCE ROOM - DAY. Doc Hayward describes how Laura died to Harry and Cooper: DOC HAYWARD: "What killed her was loss of blood. Numerous shallow wounds." BACK TO PRESENT. DOC HAYWARD: "Honey, I'm exhausted. Besides, you're the best veterinarian in the northwest. You'll figure it out. Now, can we go?" As Gersten gets in driver's seat and the Tesla drives away, Doc Hayward watches Nadine. Nadine's diaphanous shawl, draped around her arms, looks like fairy wings as she slowly twirls in sunbeams cascading through douglas firs.

EXT. WOODS & GREAT NORTHERN - ESTABLISHING - DAY

The douglas firs surrounding the Great Northern. East of the vast spa and hotel, moored at the Great Northern's docks, a yacht emblazoned with 'Horne Tours Elite' named ' _Château Promenade_.' Up lake from the yacht, rows of identical two story cabins, each replete with its own long dock. To the north of the Great Northern: Tennis courts, outdoor spa and hot tubs, helipad. To the northwest, and sliced out of the woods: a three hole golf course. Directly to the west, an indoor pool with retractable roof. As the roof is tested, opening slightly, then closing, breaths of steam exhale from its gigantic interlaced glass teeth.

INT. GREAT NORTHERN - BEN'S OFFICE - DAY

Audrey, in black business suit, sits on the corner of Ben's desk, examining her vermillion nails, fanning one leg. Ben seems to be considering. Ben walks to doors and locks them. Audrey steps down. Ben motions toward wall. Audrey grins. Ben removes a thin remote control from suit jacket, presses a button, pockets remote. Behind a Nez Perce totem pole depicting 7 animal-human hybrid faces (from bottom) beetlebaby, spiderboy, ratgirl, weasleboy, snakegirl, owlman, hawkwoman with fanned wings, a wooden panel on wall opens. Audrey goes to Ben, holds his hand, lays her head on his shoulder as they walk. They stop then enter:

INT. BEN'S SECRET OFFICE - CONTINUOUS (CGI)

Panel closes. Twice the size of Ben's Office, the enclosed room shows no windows around its wooden two story beamed interior. Behind three identical elaborately carved 19th century lawyers desks, 6 video screens, dark. Civil War divans amid southern decor. Another level black panel closes. Ben walks to an antique wine cabinet, smiles, and peruses its dusty bottles. Audrey moves to bar. BEN: "I'm the only one Leo should not be pissed at, Audrey. I paid him, plus interest, including time served, made him a fake employee. All of that to make that woman go away." Ben smiles and selects a bottle of Kentucky bourbon. Audrey places bowls of raw sour red cherries and green olives with two bourbon glasses on the bar. Ben approaches bar. A final level saferoom steel vault door closes and interlocks over the first and black panels. BEN: "For 25 years that woman, that woman..." Ben sets bottle before Audrey. Audrey stoops under bar. Below the bar, Audrey opens a small civil war chest. BEN (OS): "While you and I have attempted to legitimize every part of Horne Industries..." Ben cleans the bottle. BEN (OS): "That woman has frustrated our investments, opened numerous competing enterprises, and is now..." Inside the chest, she moves aside an heirloom Cooper Pocket Double Action 5-shot Revolver. A locket of brunette hair. Several smaller chests. Ben grunts as he uncorks bottle. Audrey removes a letter. BEN (OS continuous): "...a majority stock holder in two! Two, Audrey, of our top five money-makers." Letter opens to: 'To my dear son-in-law, Robert Briggs.' Audrey snaps it shut and stuffs it in her suit jacket as she is grabbed by Ben abruptly. BEN: "Audrey! Are you listening to me!? One Eyed Jacks is next!" Audrey turns, smiling. AUDREY: "Oh, Daddy, you know I run a legal casino and so does she. She can't touch me, I'm a Canadian National, eh?" Audrey loses her smile. AUDREY: "Catherine is so evil, Daddy." Audrey eats an olive. Electronic tone sounds. BEN: "Enter." A turtlenecked Leo emerges from another panel. Audrey grips Ben, who loosens her, and extends a hand toward Leo. Leo stares. Ben dusts off his hands, and gestures to a settee. LEO: "Get me a beer, Audrey." Audrey lights a smoke, stares. Leo scratches, then rubs his left shoulder, regards the lavish office. LEO: "Looks like you've done well." BEN: "Well, this is a lifelong passion-" LEO: "Is this place secure?" BEN: "I assure you, my friend, the walls are lined in lead and a piso-electric detection grid, bulletproofing, soundproofing, as well as automatic electronic weaponry, security and saferoom features, so watch your mouth around my daughter, Leo." Audrey smiles, handing Leo a beer. LEO: "Or what?" Leo cracks beer. Ben straightens. Leo slurps. BEN (to no one): "Level one targets to imaging visible IR." Electronic laser beams shine bright in the room. Audrey blows smoke in beams, brightening them. She smiles. Ben pulls out a carrot stick. BEN: "You see, Leo, you kill me, I kill you. You go to jail, I pay the price. Nobody wins. But I do have one last job for you, my friend, and whether you fail, and still get paid, or succeed, and really get paid, is up to you. But afterwards, Leo Johnson, we will never speak again." LEO: "Leo needs a new pair of shoes." BEN (to no one): "Open one through four." We see four of six video screens light up, one showing Johnny's sculpture, another showing Ben's office, the secret office, and one showing Leo as a translucent skeleto-muscular medical scan target. Targets point to his heart and brain, but seem to have trouble locking on to his collar. Leo smiles. BEN (to no one): "Then offer them my private dining room with my complements, and send my apologies to Mrs. Horne. And, Julie, get me the Palmer documents."

EXT. PALMER HOUSE - LATE DAY

The tall two story house casts deep shadows in the darkening light. A dove grey 2016 Chevy Spark EV is parked in the Palmer driveway. Otherwise clean, it is splattered from trekking through mud roads recently.

INT. PALMER HOUSE - KITCHEN - LATE DAY

Sarah sits with Lana Milford, who holds Sarah's hands. SARAH: "Leland was a lawyer like you, Lana." Sarah squeezes Lana's hands. SARAH: "Not a day goes by I don't think about or see my Laura." Sarah looks to (new) trophy case photo of Laura, frowns, and blinks. The caption below this copy of the photo reads: "Laura Palmer. Junior Prom Queen 1990." The 'r' in 'Laura' disappears, and the 'u' turns upside-down, forming 'Lan a' with a backwards 'n'. Sarah blinks again, and 'Laura' returns. Sarah releases an exasperated sigh. LANA: "Sarah, I intend to show the court that your pain and suffering has never diminished, and Horne's dirty little-" SARAH: "They call anyone who remembers my Laura a Laurite." Sarah tears up. SARAH: "It's torture when the haters chant that-" BLEND Leland and Sarah's voice: LELAND-SARAH: "-Fire walk with me-" SARAH: "I hear it, every holiday, every Christmas, and especially every single Halloween." Ceiling fan stops then reverses. Sarah looks up, angry. SARAH: "Leland!"

EXT. WOODS - LATE DAY

Deluged in the amber crepuscule, we see a gully between white birch trees, the ground a thicket of muddied leaves and broken white blossoms of flowering black huckleberry bushes. The slide marks lead down the gully. To plastic. Laura's corpse lies wrapped in plastic. Face down. Then we see there is no face. Nor head. We see the boots and trousers of a Sheriff. ANDY (OS): "Lucy?" Andy is crestfallen, his head hung, holding his bluetooth earpiece. Laura's corpse has come to rest (head) first against a sawn douglas fir stump, a five foot circle of aged ring upon ring upon rippling ring. ANDY: "Lucy, her left arm and head are missing." LUCY (VO): "Oh, God no, Andy! Andy? ... Andy, are you crying?" Andy is quiet, firm, lost in reconnoitering the woods. ANDY: "No, Lucy, that's what they want us to do..." Andy toughens up, grits his jaw, unclips his holster. ANDY: "But Agent Cooper says that's how we win, we stay stronger together, Lucy." LUCY (VO): "Copy, Officer ... oh, Andy." Andy touches earpiece. A tear falls. He stands, statuesque, gun at the ready.

INT. BLACK LODGE (CGI)

Laura sits, wearing her black gown, on the chevronned ceiling of an upside-down red room. LAURA (backwards speak): "... in 25 years ... Meanwhile ..." Laura poses her hands. Vase appears in her posed hands with a dozen identical red roses. LAURA (backwards speak): "The thirteenth rose. The thirteenth hour. The thirteenth owl. Meanwhile ... The thirteenth thirteenth ... Meanwhile." Laura switches both hands holding the vase. Roses in Laura's hands die, wither to dust, resurrect, and finish with twelve perfectly different roses that begin to intertwine thorns, stems, leaves. LAURA (backwards speak): "Is it future or is it past?" We now see Cooper, age 17. [Sketchy glitches in brackets.] YOUNG COOPER: "This is the [] present, [] because I escaped the Black Lodge, but I am young, so possibly the [] past–[]" LAURA (normal speak): "Sometimes, my mind bends forward. Over and over and over."

S3:E2: ACT THREE

EXT. TWIN PEAKS STREETS - ANGLE FROM DOUGLAS FIR - LATE DAY

Evening sun floods across a neighborhood of 9 blocks. Midst the two-story houses, western red cedars, sika spruce, and western pines buffet against passing zephyrs and erratic gusts. The shadow of a small cloud passes over, dropping the sun and tarnishing sections of the neighborhood in deep twilight.

INT. UNKNOWN RESIDENCE - TV ROOM - LATE DAY (CGI)

Tarnished light passes by a window next to the corner of the room with a flat screen TV showing snow. Click. Television showing: EXT. TWIN PEAKS STREETS - DAY. Captions: 'Horne Industries presents' 'PINK SWEAT.' Traveling, we see Bobby, being filmed. Throughout shot, certain words of Bobby's are replaced, shown here in parentheses with deep MIKE Voice Overs, when Bobby's lips match Mike's words*: BOBBY: "Hi, I'm (*Chase Stone) and I work for (*PINK SWEAT!). This production has no affiliation with (*the Twin Peaks Sheriff's Department). Folks, this is beyond awesome, beyond groundbreaking, beyond infinite! (Which is how I first fell in love with the nefarious Feathercrest sisters on that deadly night), so get ready for the first pollen particle floating in the universe! (*A universe of outrageous, live action, streaming, 24/7 soap opera reality interactive dreams-come-true social media that you get paid for and star in, the plot, always your own!*) Bobby touches his bluetooth earpiece. BOBBY: "...and go?" BOBBY: "We're Live! Worldwide! Welcome to the grand planet-wide opening of-" Click. TV channel changes to DOCUMENTARY showing EXT. WOODS AND MOUNT SAINT HELENS - THE PAST. Caption: 'Mount Saint Helens: May 18, 1980.' The north face of the mountain imploding down in a cataclysmic landslide, while the mountain explodes belching grey and charcoal clouds. We loop around the exploding column of the churning pluming pyroclastic eruption, again and again, in seconds, like a moth around a flame. FADE FROM INT. UNKNOWN RESIDENCE TO EXT. WOODS - TWIN PEAKS - NEXT DAY. Caption: 'Twin Peaks: The next day.' The douglas firs and forest floor are covered in light grey volcanic ash.

EXT. OLD PACKARD MILL TOWER - PRESENT DAY - LATE DAY (CGI)

As we RAPIDLY REVERSE TIME, we see the mill reform, the inlet, logs in water, then to that day in 1980, the mill covered in volcanic ash. BACK TO PRESENT showing gloomy inlet. Then RAPIDLY SPEED TO FUTURE, we show a boatyard with yacht, moored at an immense marble-columned grand palazzo, gleaming in the sun, a strange 12-sided black obelisk at the center of the palazzo's majestic manicured courtyard.

EXT. TOWN HALL - MAYOR'S OFFICE - PRESENT DAY - LATE DAY

From high atop a street light, just as it clicks on: Catherine's Ardea is parked near sign: 'Twin Peaks Town Hall.' As we move closer to the Ardea, we see beneath the sign, in much smaller print, 'Keep Twin Peaks Clean.'

INT. MAYORS OFFICE - LATE DAY (CGI)

MUTE SOUND. Caption: 'royaM' to caption: 'Mayor'. Harriet is slumped in her tall 1915 red walnut black leather judge's chair, her head in hands. She is startled as Catherine bursts in. We see Catherine point to her watch and the clock on wall reading: 8:45. We never quite see her nor Harriet's lips move. Harriet stands. Catherine throws up her arms. Harriet shakes her head, her eyes firm. HARRIET (stock audio, VO): "Actually, now that some time has passed, I like the full blossom of the evening." Catherine twirls her index finger in the air, and puts her hands on her hips. Harriet crosses her arms. HARRIET (stock audio, VO): "Actually, now that some time has passed, I like the full blossom of the evening." Harriet points to crossed civil war sabers on wall, then to a plaque reading 'Keep Twin Peaks Clean'. Catherine waves away the encased swords, waves away the plaque. HARRIET (stock audio, VO): "Actually, now that some time has passed, I like the full blossom of the evening." Harriet opens drawer and hands Catherine a piece of paper, which Catherine promptly discards. HARRIET (stock audio, VO): "Actually, now that some time has passed, I like the full blossom of the evening." CUT TO EXT. MAYOR'S OFFICE - LATE DAY then CUT TO NIGHT. Caption: 'Midnight February 26.' As Catherine's Ardea fades away.

EXT. TWIN PEAKS STREET - NIGHT

A lone swaying elm tree harshly lit by a lone street light. We hear footfalls stop. A gloved hand holds a list of names. In the harsh light, the letter is opened. Checkmarks next to: Ronette Pulaski, Jonathon Horne, Benjamin Horne, Sylvia Horne, Audrey Horne-Briggs, Robert Briggs, Nadine Nelson, Sarah Palmer, other Mr. Palmer. Names without checkmarks: Donna Hayward, James Hurley, Garland Briggs, Shelly Hurley, Margaret Lanterman, Phillip Michael Gerard, Annabelle Blackburn, Deputy Chief Thomas or Hawk Hill, Mayor Harriet Hayward, Special Agent Dale Cooper. The list is crumbled up and tossed into a public trash can, reading: 'Keep Twin Peaks Clean."

EXT. GREAT NORTHERN AT HILLTOP - NIGHT (CGI)

We see an already-rolling glazed donut roll down the hill from the Great Northern into town. It rolls along the center double yellow line of the road. POV DONUT: The town of TWIN PEAKS spins as the donut stays stationary, until it topples over and we see straight up into the douglas firs surrounding: EXT. SHERIFF'S STATION - NIGHT. END POV. Lucy, outside, sees the donut roll up. Lucy looks around. She touches her bluetooth earpiece. LUCY: "Andy, you know how the vandals who desecrated Laura's memory with that awful graffiti on Principal Wolchezk's garage and patio ... and gosh, that poor piglet in plastic last year, do you think someone's trying to mock _us_ , 'cause there's this donut ... and it seems to me why would someone roll a donut clear down from the Great Northern to the Sheriff's station? I mean, are they making fun of us too, Andy?" ANDY (VO): "Inform Sheriff Truman." LUCY: "But Andy, it's just a donut." ANDY (VO): "Inform Sheriff Truman, immediately. That's an order, Lucy." LUCY: "Oh, Andy." She touches her headset, lingering and caressing the device and her cheek.

EXT. HORNE'S DEPARTMENT STORE - NIGHT

The impressive four story department store is dark save four display windows. We see: camping manikins in outdoor gear around tent and replete with every hiking product, sun room setting with manikin couple in formal wear sitting before silver tea set under chandelier, the store's marble and oak grand front door threshold, boy girl and dad manikin operating a live drone flying inside display of park setting, two strange statues composed of dark flat screens tablets cell phones and shaped roughly human standing in a display of luxurious couches and furnishings.

INT. HORNE'S DEPARTMENT STORE - FRONT ENTRANCE & HARDWARE - NIGHT (CGI)

From mighty double door entrance, we travel into the dark store toward a far lit area, snaking around: the grand foyer's chandelier far above a center stage ten foot cube 'H' made of 5 dark two-sided flat screens on each face. The 40 monitors balance on one of its four legs at 45° inside the hollow of a spherical gear matrix. Around the 'H' is a guard rail and safety glass. Past the foyer, women's wear, the perfume counter, lighting, deli counter, stopping at hardware, the lights illuminating a cashier station. Julie Duvic hands Harry a receipt. JULIE: "That's the only purchase of four or more. Harry touches his bluetooth earpiece. HARRY: "Copy, Lucy. Lucy. Copy, over and out." Harry hands receipt to Hawk. HAWK: "Those shovels were purchased by Catherine Martell." HARRY: "Impossible. Catherine would never set foot in Horne's. She would have bought them at Gentleman Jim's, the General, or one of her stores. It's a forgery." Hawk hands the receipt to Albert, who passes it to Cooper. Cooper regards the receipt. COOPER: "I've seen this handwriting before." Albert takes receipt and bags it. HARRY: "As for the plastic used to vandalize the Packard tower, the only person to purchase that much plastic was Nadine Nelson." COOPER: "Big Ed Hurley's ex? wife." Hawk and Harry nod. Albert lifts his watch and taps it.

EXT. HORNE'S DEPARTMENT STORE - NIGHT

Reflections of passing vehicles crisscross across the windows of the displays.

EXT. TWIN PEAKS SHERIFF'S STATION - LATER - NIGHT

Reflections of passing vehicles crisscross across the station's glass front security entryway doors.

INT. SHERIFF'S STATION - HARRY'S OFFICE - NIGHT (CGI)

Albert and Cooper stand in front of huge flat screen, showing INT. GORDON'S OFFICE - PHILADELPHIA - NIGHT. Cooper gives bagged pitch gum to Albert. COOPER: "Albert, I want this tested. The more we know about Margaret Lanterman, the better." ALBERT: "The story so far, Gordon: The body of the victim, Palmer, was removed from her grave, Dale Cooper returned from what he says is the Black Lodge, several locals report seeing images of said Palmer girl the same day. The mother of the victim, one Sarah Palmer, discovered pages from a 25 year old diary, also the same day, and finally, one Leonard Johnson, conviction, arson, released from FDC Sea Tac, Seattle, also the same day, whereabouts unknown. But as a wise man once told me, 'When two _or more_ separate events occur simultaneously pertaining to the same object of inquiry, we must always pay strict attention.'" Cooper smiles, thumbs up. ALBERT: "Gordon, Cooper also insists there are other related elements." GORDON: "You're back in, Coop. Reinstated with a slough of provisos. Honestly, never had one of these dreams, I trust facts and truth. Albert, any dreams?" ALBERT: "Not one in 25 years." GORDON: "Good, that's why you're in charge. You'll be taking orders this time Coop, is that understood?" COOPER: "Loud and clear, Gordon." GORDON: "I need real world results here, Coop. Tibet can wait, but the Blue Rose cannot. Do you understand?" Flat screen experiences strange pixelation. Cooper looks blank. INSERT INT. BLACK LODGE. Laura holds the vase of roses. LAURA (backwards speak): "... meanwhile ... the thirteenth rose." BACK TO SCENE. GORDON: "Did we lose him? Albert, you there?" ALBERT: "Unfortunately." GORDON: "That's Albert alright. Coop?" COOPER: "Here, Gordon. I understand fully." GORDON: "The digital medium is no place for a presentation of facts." Cooper stares out window of Harry's office.

EXT. SPARKWOOD & 21 - NIGHT

The red center stop light hangs, slightly moving in a passing gust. In the background, douglas firs ruffle in inconsistent gusts.

EXT. PALMER HOUSE NEIGHBORHOOD - NIGHT (CGI)

We see an owl. It stares, head unmoving. It slowly blinks double eyelids, as: POV OWL: We see the Palmer house in the distance, showing view through lens of its transparent inner eyelid, wiping across screen, followed by black lens. A slice of clear, a crescent of transparent, a sickle of black.

EXT. PALMER HOUSE - NIGHT

Closer and closer, we stop at the front door of the house. Laura Palmer's rotted skeletal hand knocks on door. The arm is thrown at the foot of the door. FADE TO BLACK. In the BLACK, we hear the door open. Sarah screams. And screams. SCREAMS. ONE ARMED MAN (backwords speak, VO, whisper): "One day after Bob." BOB (backwards speak, VO, whisper): "No day after Bob."


	3. Something Horrible is Going to Happen

(Third Edit 6-27-18)

TWIN PEAKS: EPISODE 3: "SOMETHING HORRIBLE IS GOING TO HAPPEN"

S3:E3: TEASER

INT. TOWN HALL - STOCK FOOTAGE - YESTERDAY - (CGI)

HARRIET: "... Yesterday, the corpse of Laura Palmer was grave-robbed, and-" Audience tumult grows loud. HARRIET: "And ... and ... People, we need quiet. Excuse me, Agent Cooper will explain." Betty clicks lights. END STOCK FOOTAGE. Margaret now stands where Betty was, clicking lights. STROBE flashes. She holds an owl, couched in her arm where the log would be. We see a Second Cooper, standing with Owl Lady. Everyone frozen except Owl Lady and Second Cooper. OWL LADY: "My owl has something to show you." As First Cooper on stage iterates list of names (stock), strobe flash faces (in parentheses): FIRST COOPER (VO): "...criminal wrongdoing (Harriet), financial malfeasance (Ben), distribution of never-before-seen hallucinogenic narcotics (Ronette), assault gun trafficking (Shelly), kidnaping (Wolchezk), poisoning (Norma), torture (Doc Hayward), dark arts (Heidi), murder (Bobby)." END STOCK AUDIO. Everyone frozen. Second Cooper is baffled. "Are they ... guilty?" OWL LADY: "25 years and still in the real world. Men. Open your eyes, and you'll burst into light." Giant appears. GIANT: "These things are like clues, before or after clues." OWL LADY & GIANT: "Is it future, or is it past?" COOPER: "This is the present." Owl Lady and Giant drop their heads and shake their heads 'no.' MORPH Owl Lady and Giant back 25 years, rejuvenating both. Young Owl Lady snaps owls neck.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E3: ACT ONE

EXT. GREAT NORTHERN - MORNING - ESTABLISHING

Glowing and reflecting the early morning gold light, the windows of the Great Northern look like a golden palace, including a new 12-sided huge circular penthouse, seamlessly matched to the gabled roofing, providing a glinting two-story pinnacle.

INT. GREAT NORTHERN - DINING ROOM - MORNING

Cooper, in civies, sits with coffee, griddlecakes, and ham. Audrey, beaming, in a pumpkin business suit, emerald blouse, a strand lofting a single black pearl, enters dining room in distance. Audrey saunters to his table, smiling broadly. AUDREY: "Aren't you happy to see me, Agent Cooper?" COOPER: "No, Audrey, I am not." He slides her the bagged shovel receipt from Horne's Department store. COOPER: "That's your handwriting, Audrey." AUDREY: "It is?" COOPER: "Forgery is a felony, Miss Horne. Who bought those shovels, Audrey?" AUDREY: "I don't know, one of her woodsman thugs. I didn't forge it, just wrote down who really bought it. I know she's up to something." COOPER: "Catherine Martell?" Audrey nods. Bobby enters, glares at Audrey, taps his watch. Audrey looks frustrated. Cooper signals Bobby over. BOBBY: "Agent Cooper. Audrey, we're late for family fun time." COOPER: "Officer Briggs, place Miss Horne under arrest." BOBBY: "What!? I can't arrest my exwife!" The three stare at each other. Bobby removes cuffs and shakes his head, fumbles with cuffs. Audrey puts her hands behind herself, protruding her breasts, the pearl dangling and sparkling. AUDREY: "Can't _you_ arrest me, Agent Cooper?"

INT. GREAT NORTHERN - HALL OUTSIDE DINING ROOM - MOMENTS LATER

Ben marches toward the doors, in clouds of cigar smoke.

INT. HORNE PRIVATE DINING ROOM - MOMENTS LATER - MORNING

Jacoby sits next to Johnny in headdress at the long formal dining table. Sylvia sits at the other end of table. The doors of the dining room are thrown open, showing Ben, throwing up his arms, exasperated. Sylvia turns away from his display, sipping red wine, looking at window. Doctor Jacoby plays with a golf tee. Johnny bobs back and forth, staring at three golf balls: red, yellow, blue. BEN: "Audrey's been arrested. By Bobby. Looks like this week's session is off, Doctor Jacoby." SYLVIA: "Three days! That fruit has been rotting, and now there's flies! Flies, Ben, flies! They'll spread. Do you want the Great Northern to be known as the House of Flies!?" Johnny touches the red golf ball. It rolls down length of the table. Doctor Jacoby sets the tee on the table, point up. The red golf ball rolls off the table to the dining room's only window. Beneath the window, shows the bleak EXT. GREAT NORTHERN DRY DOCKS. Above the dry loading docks, an obscuring twenty foot tall long brick & log wall. Douglas firs above the wall blot out any other view. The dock is walled off and deep welled, showing a phalanx of 9 Horne Industries 2014 Nissan NV200 compact cargo vans. They are all tilted downward, parked half underground, their side windows showing digital marquees. The 9 marquees read: 'Horne Tours' 'Elite' 'Guest Services' 'Shuttle' 'Jack's Junket' 'Green Horne' 'Private' 'Express' 'Delivery' 'Out of Service'.

EXT. WOODS - LATER - DAY

In a grove of tall ponderosa pines, just beginning to send forth new bright green needles, Betty Briggs stands in birdwatching gear, her binoculars slung. She taps a compass in her hand. The compass reads northwest. BETTY: "Mmm." Compass spins wildly. BETTY: "Huh?" Then reverses wildly. BETTY: "Ooo!" She walks forward, stray needles grabbing a single hair of her blond locks.

EXT. SHERIFF'S STATION - DAY

The bright sun beams near the shade from the recessed alcove entrance of the Sheriff's Department. At the front doors, on the security keypad's monitor, scroll words: Red: 'Say hello'. White: 'Or press CALL'. Blue: 'Door will buzz when open'. Green: 'Keep Twin Peaks Clean'. Red: 'Say hello'. White: 'Or press CALL'. Blue: 'Door will buzz when open'. Green: 'Keep Twin Peaks Clean'...

INT. SHERIFF'S STATION - CONFERENCE ROOM - DAY

Gordon's video close up. Gordon stares forward as we pan back to reveal the conference room's large flat screen with his image. Albert and Harry sit at one end of table, looking at laptop. Cooper stands at other end, regarding the tables contents. As Albert types on laptop, Cooper regards his old possessions, bagged with FBI labels: Diane recorder, badge, gun, magnifying glass, clothing, shoes, holster, tie tack, FBI lapel pin, walkie talkie, but not Great Northern key. Cooper pulls on the lapel of his new black FBI suit with his left ring hand. Nearly identical. New FBI lapel pin. Harry watches Albert slide Cooper a cell phone, tablet, 2015 9mm Glock Gen 5 pistol semi-automatic, bluetooth earpiece, FBI vest, and a large black plastic envelope labeled 'FBI protocol 121314.' Cooper casts his eyes at the envelope. Then to Albert. Albert regards the envelope, then motions Cooper over to the laptop. ALBERT: "In addition to the Palmer girl's arm being recovered, we have this." Harry frowns and clicks on laptop. All under the watchful stern gaze of video Gordon. On laptop screen: (YouTube) NEW cell phone ANGLE on COOPER at TOWN HALL: VIDEO COOPER (stock VO): "... narcotics, assault gun trafficking, kidnaping, poisoning, torture, dark arts, murder." Albert pauses Cooper video. ALBERT: "What the hell, Cooper? The FBI never makes accusations, let alone wild accusations, without corroborating evidence. You've embarrassed yourself and the Bureau. I mean, where do you get off?" HARRY: "Albert, he was just a citizen then." Harry stands. ALBERT: "Aren't we all." COOPER: "Albert, Gordon, I have been in the Black Lodge for 25 years, collecting fragments of an impossible jigsaw puzzle. Pieces of that puzzle are even now assembling themselves. I cannot describe the logic, but I know the evil born of the Black Lodge is infesting Twin Peaks in the ways I described." GORDON (VO): "Not good enough, Coop." COOPER: "Gordon, these things are related." ALBERT: "Gosh, Gordon, I'm jealous, can I get a Ouija board too?" Harry smiles. GORDON (VO): "Albert, save the humor and fireworks for the Fourth of July." Albert opens a folder and carefully hands Cooper 3 pages of Laura's diary, each bagged separately. ALBERT: "How about something down to earth." As Cooper reads: LAURA (VO): "So when you read this, you'll know, C. My fun secrets are for D. My naked secrets are for Doctor J, my dirty secrets are for B, and my good secrets are for J. My weird secrets are for H. But my secret secrets are for C. C is the man in the Black Lodge, whom I dream about. This dead girl, Annie, was her name, Annie. Annie made me write this. C is trapped in the Black Lodge." ALBERT: "The other two pages are blank, but I'm having all of them and the original tested." Knock at door. ALBERT: "Enter." Hawk enters and gives Cooper photos of Sparkwood and 21 showing burn-mark tower and red glass. COOPER: "Looks like the mill tower. No vandal did this." Hawk nods. HAWK: "Nice suit, Agent Cooper." Albert and Cooper watch Hawk leave. On laptop screen, YouTube logo disappears. Screen fades to INT. BLACK LODGE: Four men stand together, seen from above, standing in chevrons, facing each other: Cooper, Chester, Albert, Phillip. Albert is asleep. FADE BACK to paused Town Hall video. GORDON (VO): "Albert! Coop! Did you see that!?" ALBERT: "See what?" COOPER: "It's happening, Gordon, and its real."

INT. BLACK LODGE (CGI)

The red curtains extend into the darkness. The chevronned black and white floor clicks to white and black. Leo backwards-laughs. Leo's long hair, now dirty white and dirty grey, unbound from its hair tie, looks like Bob's filthy tangles. He stops laughing, contorts, and separates into: Leo, Catherine's now floating collar, Bob. Bob's pose mirrors Leo. The collar MORPHS into the owlcave Jade ring. And floats. Bob and Leo laugh ala same pose as Evil Dale and Bob, 25 years ago. Doppelganger-Man From Another Place appears, giddy, clapping, wild-eyed. MAN FROM ANOTHER PLACE (backwards speak): "Formica! Formica! For. Mike. Ahhhhhhhh!" He loses any expression. Walks. Leo and Bob mirror each other and turn to follow Man From Another Place. The Man from Another Place walks up to Cooper, Chester, Albert (eyes closed), Phillip. Albert faces Cooper, Phillip faces Chester. MAN FROM ANOTHER PLACE (backwards speak): "This is an FBI Agent. North is its direction." He begins to dance to music, clicking his fingers ala Cooper (backwards sound).

S3:E3: ACT TWO

EXT. SHERIFF'S STATION - LATER - EVENING

In the pre-twilight of indigo clouds and saturated blue skies, a mirrored reflection on the front doors: The vista across from the Sheriff's Station: The strange round stone sculpture at its entrance. Vehicles passing on the busy street. An industrial section of Twin Peaks in the foreground. An old train depot in background. Circumscribing douglas firs then treeless area above river in far background. Panoramic forested hills in the deep background. Into this view strides Donna. Black business suit, sunglasses, wide brim white hat. She stops. DONNA: "Donna Hayward." Door buzzes.

INT. SHERIFF'S STATION - CELLBLOCK - MOMENTS LATER - EVENING

In the darkly lit rows of jail cells, Audrey sits on her bunk, holding and examining one of her pumpkin high heels. Donna enters in sunglasses, sultry, daubs her perspiration glow with a white silk handkerchief, lights cigarette. Audrey stands. She lifts her leg backwards and replaces the shoe. AUDREY: "Oh my God, give me a smoke, sis." Donna does, lights it. DONNA: "What kind of game are you playing, Audrey?" AUDREY: "Naughty, but illuminating. Listen, Donna, I know how to get Bobby straightened out, and for you to get back with James." Donna looks away, feigning shock. AUDREY: "Now who's playing games." DONNA: "Okay, I'll indulge you. Shoot." AUDREY: "I found this old letter, starting with 'My dear son-in-law Robert Briggs.' There are things in there about Leo and Bobby and Shelly and my father. Creepy stuff from 25 years ago. One of the times Daddy had a break down, he started making this stupid Civil War diorama, he was nuts, but Bobby was there through the whole thing." DONNA: "I'm listening." Audrey smiles, puffs, twirls on her pumpkin heels in her cage almost dance-like, and blows a lingering breath.

EXT. SHERIFF'S STATION & TREES - LATER - EVENING

From mammoth douglas fir branches, we see the station below, and the back of the Station's billboard iconic wooden sign. We see the vista of the street, industrial, train station, but we turn away to see the trees circumscribing this sundown section. FADES THROUGHOUT: Traveling in, then through the trees, branches of sparse needled ponderosa pines, thick douglas firs, ash, and others, the branches swat at us as we travel closer to the silent river. But rather than the river:

EXT. EASTER PARK - EVENING

The lakeside park is replete with docks, looping pathways, picnic benches, and in the far distance, the Gazebo. The six posted white hexagonal gazebo. Two figures stand outside the gazebo. James and Donna's silhouettes. Over the lake, in the far distance, the river sports a night fisherman, lamp on and point to waters, motor silent. The boat drifts slowly down the silent river. Donna strokes the gazebo's white wooden railing with her black gloved hand. DONNA: "James, do you remember Maddy?" JAMES: "I was just thinking about her. I remember her most dressed as Laura, isn't that weird?" She turns to him. DONNA: "No. James, right after Laura and Maddy died, my biological father, Ben Horne, wrote this letter to Bobby, about Leo and Shelly." BOBBY: "My wife?" DONNA: "Um, yeah James." Donna strolls up into the gazebo. James follows. DONNA: "They're all mixed up together in some 'financial malfeasance' is the words Audrey used." Donna turns to him. DONNA: "Your wife Shelly and Audrey's ex-husband, Bobby. You know how they used to be." James stares out to fisherman casting lure. JAMES: "Shelly would never do that to me." DONNA: "Bobby is always up at the Great Northern. I'm there all the time." JAMES: "So?" DONNA: "You don't know. James, Shelly delivers to the Great Northern like three times a week." JAMES: "So." Donna turns James to face her. DONNA: "Why the hell is Benjamin Horne ordering pies from the Double R? The Great Northern prides itself on its international cuisine, led by my hedonist uncle Jerry. Answer: Bobby's getting his pie to go." James sneers, turns back to boat. DONNA: "Ask Audrey about Shelly and her pies." JAMES: "They're great. I could go for some pie. Anyways, I trust Bobby, he's a cop." DONNA: "James, he was following Shelly when we saw Laura." James looks down. DONNA: "And don't forget his other job, James. Horne Industries." James turns to Donna. JAMES: "I can't forget. He came by the Gas Farm the other day."

FLASHBACK BIG ED'S GAS FARM - NIGHT

Bobby, in civvies, on his 2015 silver and red Kawasaki Ninja H2R crotch rocket, parked by row of six gas pumps. Inside, Ed sits in the gas station's septagonal glass observation bay, and gets up. Bobby waves to Ed, and dismounts. BOBBY: "Ed, it's okay, I'll get it." Bobby inserts credit card. Down past the dark TowTownNow, Big Ed's Classic Auto Repair has a light on in its garage. James, in overalls and lofting a car wheel on his shoulder, waves to Bobby, and enters garage. Bobby half waves, half smiles as he fuels up. Ed exits office. ED: "Officer." BOBBY: "Bobby." ED: "Bobby." BOBBY: "Say, Ed, you really going with Catherine?" ED: "Economy ... have to son, need that money flowing to Nadine. You know." BOBBY: "You're a good man, Ed." ED: "Maybe, but it don't pay the bills. Sorry if it affects your family, um, ex family, Bobby." Bobby shrugs it off. Bobby stares down Riverside Boulevard into the lonely curving stretch of wooded road. BOBBY: "Ed, do you remember my first day as a cop?" ED: "Never forget it." Bobby chokes up a bit. BOBBY: "After Laura died, well, you know I had about the hardest time convincing anyone, except Mom and Dad, that I could make ... could do anything with my completely f*cked up life, let alone become a cop." Ed nods, pats Bobby's shoulder. ED: "You've done fine, son. Two full time jobs." Bobby looks down. BOBBY: "Can't say it's been easy. Wouldn't have happened that way if you hadn't, um, you kind of saved me, when you told that old one-legged lady, 'Give him a chance, he's turned his life around.' Then Andy and that cat." Ed chuckles, Bobby cheers up. BOBBY: "I never had a chance to thank you." Bobby laughs. BOBBY: "That f*ckin cat. Wasn't even her cat. F*ck Andy got tore up! And she just wanders away." ED: "What did she call you, again?" Bobby loses his grin. BOBBY: "'Crooked-horned Quarterback Coked-up-Cop'." ED: "I thought she said 'crooked corned'." Bobby considers, shrugs. BOBBY: "Who cares, Ed, she's probably dead somewhere." Ed has an awkward chuckle. BOBBY: "Ed, Ben Horne sent me down here to convince you-" ED: "I know." BOBBY: "You should also know, going with Catherine, it's the right thing for you and Norma." Ed looks surprised. BOBBY: "Ben would lose it if he knew I told you that." END FLASHBACK.

BACK TO GAZEBO.

DONNA: "What did he say?" JAMES: "Uncle Ed switched contracts, from Horne Industries to Martellcorps." DONNA: "I bribed her." JAMES: "Shelly? Who?" DONNA: "Laura, who do you think? Audrey, James." James scoffs. JAMES: "How does anyone bribe multimillionairess Audrey Horne?" DONNA: "I told her I have a missing page from Laura's diary. I told her-" James grabs Donna's shoulders. JAMES: "What!?" DONNA: "I told her I would exchange the diary page for the letter, long enough for all three of us to read them." JAMES: "You don't have them, the cops do." DONNA: "James, I visited Mrs. Palmer right after the town hall. She told me about the ceiling fan, I went and looked, and clear down, there was one more page of Laura's diary, and I got it before the cops were ever there." JAMES: "Let me read it!" DONNA: "You can't, James." JAMES: "Why not!" DONNA: "Because. I buried it in the Owl Cave."

INT. CALHOUN MEMORIAL HOSPITAL - MORGUE - EVENING

Cooper has his arms crossed, peeved. Albert faces Doc Hayward. ALBERT: "Cranium removed between third and fourth cervical vertebrae. Entire left arm removed, both by ripping. Damage to the scapular acromion, necrotic seepage of-" DOC HAYWARD: "We are putting her back in the ground in two days." Cooper opens his mouth. ALBERT: "Let me make three things perfectly clear, Doctor. First, the FBI is in possession of the body of Palmer until I say so, not the local coroners office, to which you are affiliated. Second, two days will be fine, barring discovery of the head or ANY test result that would warrant further tests. Third, as not only the lifelong physician of the deceased and the entire Palmer family, I can think of no one I would rather have on my team than you, Doctor." Cooper beams, Doc Hayward stunned, watery-eyed. DOC HAYWARD: "I suppose I could talk to Sarah." ALBERT: "That'll be fine. The Arm." Hayward hands the arm, bagged, to Albert. Cooper leans in. COOPER: "Her ring finger!" We see the ring finger of Laura's rotted arm. The necrotic flesh looks like it had been ripped downward. COOPER: "Someone put a ring on her finger, then tore it off. Doctor, can you preform tissue swipes for precious metals, while I talk to Albert?" DOC HAYWARD: "I'd be proud to. Agent Rosenfield?" Albert nods, clears his throat. ALBERT: "Albert." Albert turns and goes to another area of the Morgue, Cooper follows. ALBERT: "While I have reservations about almost everything I've seen or eaten in this monstros-city, I need this town to trust our findings, Cooper." Albert thumbs over to Hayward. COOPER: "Albert, the paint chip confirms the type of shovel, a 'Dig-it Digaway.' Cloth fibers match those found in the coffin, and the plastic was the same used to vandalize the old Packard Mill Tower. No leads on the work boots." ALBERT: "And?" COOPER: "Albert, that jar of oil that Margaret Lanterman supplied to us 25 years ago-" ALBERT: "The Log Lady. Honestly, Coop, is everyone in this town with a mental disorder your friend?" COOPER: "That oil contained volcanic ash, which I believe is the dust or powder around the portal to the Black Lodge." ALBERT: "Portal. Hmph. Do you ever listen to yourself, Special Agent?" COOPER: "That oil is not from an engine, it has no marker chemicals. It's unprocessed, raw crude from western Washington, rare in these parts." ALBERT: "Coop, Coop, enough. You better sit down for this one." Cooper remains standing. ALBERT: "That land you bought, smack in the middle of one Catherine Martell's property, in fact, completely surrounded by her land, which Deputy Chief Hill-" COOPER: "Hawk." ALBERT: "Which 'Hawk' informed me the hillfolk call Glas-" COOPER: "Glastonbury Grove, the location of the Black Lodge." ALBERT: "Yeah. You want to clue me in as to why you own this 'Black Lodge,' or do I need to suspend you on your first day back?" Cooper loses expression. COOPER: "Don't go there." ALBERT: "Okay, sista." Albert grins. COOPER: "No, Albert, don't go to the Black Lodge. Don't go there." WALDO (stock, VO): "Don't go there!" RONETTE (stock, VO): "Don't go there.") ALBERT: "Well, first off, Martellcorps has prevented any easement to your property for 25 years. And second-" DOC HAYWARD (OS): "What the hell!? My God." Cooper and Albert return to Doc Hayward, Harry, and Laura. HARRY: "There's something under the ring finger nail."

EXT. WOODS - GLASTONBURY GROVE - STOCK FOOTAGE (CGI)

We see the volcanic ash encrusted pool of tar, and as we travel below the ground, instead of dirt, INT. BLACK LODGE, each world filling half our view. This view rotates 180 degrees, and becomes its OPTICAL NEGATIVE, then BLACK & WHITE, then fades to white. Fade from white. NEW FOOTAGE: We see Glastonbury Grove in bright sunshine, no ash, no pool of tar. Tall, still, silent, statuesque trees. Birds chirping, singing.

EXT. DOUBLE R CAFÉ - EVENING

Birds chirping. The two red neon 'RR' are seen from profile, showing a single red neon line. Chirping fades as we rotate around, revealing the two 'R's. Chirping stops.

INT. DOUBLE R CAFÉ - EVENING

Log Lady scowls. She stands at the counter by register. Heidi holds coins out, left hand posed like a swan. Margaret does not take change. They stare. LOG LADY: "Where's the Ribbon Man?" HEIDI: "Major Briggs?" Log Lady crumbles her receipt. LOG LADY: "Pie Lady?" HEIDI: "Norma?" Drops receipt on counter. LOG LADY: "The Dancing Man?" HEIDI: "I'm sure I don't know who you could be referring to." Log Lady spits pitch at Heidi, who snatches it in air. Heidi leans in. HEIDI (whispers): "I don't like you." Heidi drops coins in a clatter.

EXT. DOUBLE R CAFÉ - EVENING (CGI)

Near the street curb, a slightly flowing trickle of water, pooling in brown fir needles, reflects upward from the gutter to the neon RR and the midnight blue sky, a star or two edging visible. As our view rotates, the puddle stays anchored, but the world spins about this liquid reflection: The waning moon, 4 logging trucks, the Double R, the RR, the waning moon, 4 logging trucks, the Double R, the RR, the waning moon, 4 ambulances, the Double R, the RR, the waning moon, 4 ambulances, Calhoun Memorial Hospital, the RR, the waning moon, 4 ambulances, Calhoun Memorial Hospital, the trees around the hospital flickering bright green, a flickering courtyard light, 4 ambulances, Calhoun Memorial Hospital, the trees around the hospital flickering bright green Spin stops on puddle reflecting:

EXT. CALHOUN MEMORIAL HOSPITAL - EMERGENCY - EVENING

Four ambulances parked and silent. Past ambulances past Emergency entrance, further down, an open courtyard, one light among many flickering. Turning toward flickering, then lower to ground, to a small basement window below the courtyard. Through the flickering light reflected off the panes:

INT. CALHOUN MEMORIAL HOSPITAL - MORGUE AND HALLWAY - EVENING

A video monitor shows a greatly enlarged freeze frame of tweezers holding a putrid bloody half-centimeter plastic circle with the number '3.' Harry and Doc Hayward stare at it blankly. In a back corner of the morgue, Cooper stands with Albert, both beneath the flickering window. Albert seems annoyed at the flashing, and adjusts his stance. COOPER: "Albert, for 25 years I studied my enemy. They employed more Geneva violations than I will iterate. But, Albert, I triumphed. Laura said she would see me again in 25 years. I often thought of her. And the day I would see her again. That shred of hope to see her again, even if just once, was better than were she dead forever. Laura became my guidepost. For my intellect. For my Special Agent training, my resistance to brainwashing, many, many mantras. A guidepost for my soul. But Albert, in those decades I saw things beyond rational imagination and too terrible to re-imagine. Yet then, now, and into our future, this fourth dimensional puzzle we are work at does not stop for us to solve their riddle." ALBERT: "Yes? But why. Do you. Own. The Black Lodge?" COOPER: "Albert, I don't remember. But Albert, you will begin to find connections. You must. And you must trust me, Albert, starting tonight." Albert grimaces. ALBERT: "Coop-" COOPER: "That's why I need the following tested immediately: the pies, the owls, crows, and both's prey and predators, the water, the fruit, Johnny's fruit, black cups of coffee from the Double R, Great Northern, Sheriff's Office, Twin Peaks High School, soil from the owl cave, food services at the hospital and sanitarium-" ALBERT: "Sanitarium!? Predicted it! Damn, I'm good!" Cooper stares. Albert loses his smile. They turn to Morgue doors. Principal Wolchezk enters, with square piece of school pie. WOLCHEZK: "You wanted this, Agent Cooper?" Special Agent Sam Stanley enters. SAM: "Yes, put them down here." Wolchezk sees Laura's corpse and weeps. Albert and Cooper walk to others. Harry issues Principal Wolchezk out. HARRY: "Let's get you home, George." They exit to hallway with Hawk, Log Lady, Andy. Hawk seems to be preventing the Log Lady from moving forward. HARRY: "Help him out, Deputy Chief Brennan." ANDY: "Aye-aye." As Andy and Wolchezk leave, it seems Andy might be weeping too. HAWK: "Margaret, you can't go in there." Log Lady considers, chews pitch, stares Hawk directly in the eyes. LOG LADY: "Hawk, my log has something to scream." HAWK: "No, Margaret!" AUDIO BLEND Log Lady's scream with an eagle's scream. Harry and Hawk shocked. The doors to the Morgue open revealing Sam, Albert, Doc Hayward, all perplexed. And Cooper, grinning, thumbs up. COOPER: "Good, we're all here." LOG LADY: "Cant you count!?" Garland steps out from around corner, walks to Log Lady. She lets him lock arms with her right arm, escorting her, as they turn and walk out.

EXT. PALMER HOUSE - FRONT DOOR - EVENING (CGI)

A hand knocks at door. We see a redheaded Leland Palmer with greying temples, smiling, straightening his tie. SARAH (VO): "Who's there!?" LELAND?: "Daniel Palmer." Sarah opens door, screams, feints. Daniel grabs her, quickly moves her to couch, pulls out cell phone, drops wallet, opening to his Montana Driver's Licence. While he talks off screen, we see the wallet. DANIEL (OS): "911? This is Daniel Palmer, my sister-in-law has just passed out, Sarah Palmer. Oh dear..." We see the licence, reflected in the floor vase next to it: His name 'Daniel' reflected: 'leinaD', 'a' and 'n' transpose: 'leianD'.

EXT. TWIN PEAKS SKY & TOWN HALL - NIGHT (CGI)

Caption: 'Midnight February 27.' Northern lights fill the sky. The aurora descends in curtains of green and red lights, outmatching the splendor of the dome of the Town Hall. Curtains.

EXT. TWIN PEAKS SKY & GHOSTWOOD FOREST - NIGHT (CGI)

Rippling red evaporating pleats of green washing and emerging scarlet shimmers floating away to emerald glows above the dark green swaying trees.

EXT. TWIN PEAKS SKY & GREAT NORTHERN - NIGHT (CGI)

Satin greens and silk crimsons strum across the sky above the hotel's well lit bustling rooms. Rotating around, the sky reflected in: The two story wide bay windows of the Great Northern's Ballroom.

INT. GREAT NORTHERN - BALLROOM - NIGHT

Couples dance to slow music. Couples dance: Mike Nadine, Bobby Audrey, Joey Shelly, Ronette Scotty, Ben Sylvia, Jerry Heba. Some townsfolk stare out windows. Shelly and Joey lilt by Mike and Nadine. SHELLY: "So beautiful tonight." Nadine's sparkling chestnut eyes.

INT. DOUBLE R CAFÉ - NIGHT (CGI)

Ed and Norma alone, seated next to one another. NORMA: "Honestly, Ed, please, I can't handle talking about Nadine." ED: "Well, darling, I'll finish by saying that when they talked to her about the plastic, she said it had been stolen. Then she took the last piece of plastic she did have, made a cape, and danced, Norma, well twirled, like a kid in a parade." NORMA: "Stay away from her, Ed." ED: "I will. Well, I got your contract, best price, for the Meals-on-Wheels." Norma smiles, nods. NORMA: "And Horne?" ED: "He's done. But honey, I had to sign with Martellcorps." Cooper enters with Albert, Sam, Doc Hayward, Harry, Hawk, Garland, and Log Lady. ED: "Sorry, fellas, Margaret, we're closed. I forgot to lock it, darling." LOG LADY: "We're not here for the pies. The men will serve coffee. I'll pay for it. The women will sit together-" ED: "Hold on a damn minute here." Cooper raises his hand in oath salute. COOPER: "Big Ed Hurley, Norma Hurley. Congratulations, it is both wonderful and strange to see you again. Pardon this intrusion, but I am testing a hypothesis, it should only be a minute or-" James and Donna enter. Cooper smiles. JAMES: "What the hell's going on, Uncle Ed?" People look to Log Lady. Cooper beams, nods. LOG LADY: "Twelve cups of coffee, men." Log Lady sits with Norma, and motions Donna to join them. James goes to Ed. Garland sits with Cooper. Albert helps Sam set up strange equipment. Harry pours coffee. Doc Hayward passes Donna, touching her shoulder. Hawk nods to Cooper. FREEZE FRAME with single Strobe Flash. Everyone frozen except Garland, Log Lady, Cooper, and Hawk. LOG LADY: "Twelve. It's happening now." COOPER: "How do we stop it?" LOG LADY: "Is it future or is it past?" COOPER: "Margaret, it's all three." LOG LADY: "Then use all three. Men." Garland stands, Hawk joins them. LOG LADY: "I'll watch things here. The owls can see in here, but its empty. When the thirteenth arrives, my log says it'll all be over in an instant of forever." COOPER: "Annie! We don't have much time. Let's go." Everyone still frozen, the three men exit. Log Lady carefully takes out pitch to ashtray, chews another piece.

S3:E3: ACT THREE

INT. PACKARD HOUSE - LIVING ROOM - THE PAST - (STOCK FOOTAGE) Josie sits with Harry. JOSIE: "Something horrible is going to happen. They want to hurt me. I know it." HARRY: "Who wants to hurt you?" JOSIE: "Catherine. Catherine and Benjamin Horne."

INT. GREAT NORTHERN - ANDREW PACKARD'S SUITE - THE PAST - (STOCK FOOTAGE) (CGI)

BOB: "What happened to Josie?" Maniacal laughter. Bob disappears. Harry appears with Josie dead in his arms, knob shows Josie's image, then MORPHS into wooden depiction of Josie. NEW FOOTAGE. Back up to Cooper, still young: YOUNG COOPER: "Why am I here?" Cooper watches the knob pop off the night stand and follows it as it rolls down corridor to room 315. Young Cooper enters, seeing current Cooper sleeping. The knob rolls up onto Cooper's night stand, MORPHS into a normal knob. YOUNG COOPER: "Why don't I remember this? He points to Cooper in bed. COOPER: "Why don't _you_ remember this? The body of Laura Palmer was graverobbed, therefore it is the present, but that's what I always say." Young Cooper goes to grab current Cooper, but he rolls over, and nestles his head under comforter. When young Cooper touches man in bed, an aged centenarian Cooper, still asleep, rolls over, two long white braids tied with rawhide. Young Cooper regards his own hands, which grow translucent and immaterial.

INT. MARTELL HOUSE - CATHERINE'S BOUDOIR - NIGHT (CGI)

Catherine's suite is expensively appointed in Victorian finery. Catherine lounges on a massive bed, rubs her temples and forehead. PETE (stock, VO): "Wrapped in plastic." Catherine waves her hand, and Walter Neff approaches. CATHERINE: "And Benjamin Horne?" She makes two horn gestures over her head. CATHERINE: "The twin horned devil of Twin Peaks?" NEFF: "Done." CATHERINE: "And that dirty wh*re of wh*res, Audrey Horny?" NEFF: "Done." CATHERINE: "Then get out of my house, Walt! And listen as you leave. I want Benjamin Horne dead, I want Leo Johnson blamed, and I want Audrey Horne to pay for laundering that money to Leo, the rest of her miserable life. And find that collar, or you'll be eating with the pigs in two days!" After Neff exits, Catherine aims a remote at the door. Click. From a panel in the wall, the Hunchback seamstress woman from One Eyed Jacks emerges. Catherine snaps her fingers. Hunchback uncloaks a Native American Hide Stretcher Ring, big enough to stretch a bear hide. HUNCHBACK: "Rrr. P-p-p." She points to her eye. HUNCHBACK: "Eye. Eye. Eye." Catherine waves her away, rolling her eyes, and fans the Hunchback's stench out of her face. Hunchback exits. The Stretcher Ring has no hide, yet its stretching bands are taut. She looks through the gaping center. Nothing. Slowly, a mirrored image appears of her and her boudoir, in the shape of a hide. She regards herself. Slowly, her image changes to that of Windom Earle, dressed and makeupped exactly as she. She smiles. He smiles broader. His face evolves to white face, black lips and teeth. Catherine twirls, makes faces, all the while, Windom's parrots are more extreme. Catherine laughs. Windom cackles. He mimics her words: CATHERINE: "My God, you're a freak!" The image fades to nothing.

EXT. TWIN PEAKS ASYLUM - NIGHT (CGI)

Leo grips his shoulder then licks his hand. We see his shoulder and the smoldering bloody scarred flesh of an otherworldy square tattoo:

FIRE

WALK

WITH

'ME'

The quotes around 'ME' look like flames.

INT. TWIN PEAKS ASYLUM - GERARD'S ROOM - NIGHT

Phillip Michael Gerard, The One Armed Man, is cuffed and shackled to a medical bed. He thrashes violently, dislodging his IV. He jerks his head toward us. ONE ARMED MAN: "Bob! Oh, but you can't hear us. You know where I've been, Bob?"

INT. ONE EYED JACKS - STOCK AND NEW FOOTAGE - NIGHT (CGI)

We see the black wallpaper with pink roses, 'the little flower room.' It fades and peels to: STOCK FOOTAGE - FIRE WALK WITH ME. We are inside the Picture Frame House that Mrs. Tremond/Chalfont gave Laura, flower wallpaper peals, then walls become bare of wallpaper and room is replaced with INT. ONE EYED JACKS - PRESENT DAY. A lively casino, slot machines. We end on a sign showing an owl perched on a money bag spilling coins with huge letters: 'GAMBLE WISELY.' Another sign showing an owl in flight clutching two money bags cascading coins with huge letters: 'JOUER JUDICIEUSEMENT.'

INT. HAYWARD HOUSE - NIGHT (CGI)

Eileen wheels toward kitchen, carrying dirty dishes. A vase is smashed over her head. She is violently dumped out of wheelchair by unseen assailant in black clothes and ski mask. Wheelchair fiercely dragged out of house. Outside window, Garland watches, his form immaterial.

EXT. GREAT NORTHERN AT HILLTOP- NIGHT

We see the already-rolling detached wheelchair wheel roll down the hill from the Great Northern into town. It rolls along the center double line of the road, and passes Hawk, who is fading and immaterial. At the wheel's center, the severed head of Laura. POV WHEEL/LAURA: The town of TWIN PEAKS spins. END POV for ANGLE centered on Laura's spinning pupil. Fractals bleed from the black pupil into her rotted irises. The fractals begin to enliven the rot with living blues and evolving revolving indigo and azure. Laura's eye 'alive' with black and blue fractals.

INT. DOUBLE R CAFÉ - NIGHT (CGI)

Everyone still frozen except Log Lady. END FREEZE FRAME. GORDON (VO): "Albert, Coop?" SAM: "We're ready, Gordon." Hawk walks to Garland. HAWK: "Where were we?" GARLAND: "I'm not-" Cooper doubles over, vomits, collapses, eyes rolled back in head, gritting teeth, thrashing, quivering in torment. Doc Hayward rushes to him. Others rush.

INT. ASYLUM - ANNIE'S ROOM - REVERSE MOTION - NIGHT (CGI)

A blood splattered room, a blood soaked hospital bed. Reverse to a decapitated woman's bloody corpse kneeling by hospital bed un-yanked into room. Blood spills upward into her severed neck. Head rejoins body as a farmers scythe un-slashes her head. Annie, alive, in an immaculate room, prays. FORWARD MOTION. ANNIE (VO): "Through the darkness of futures past, the magician longs to see. One chants out between two worlds: Light, walk with me."

EXT. TWIN PEAKS AURORA BOREALIS - NIGHT (CGI)


	4. Cut Down Like a Flower

(Third Edit 7-12-18)

TWIN PEAKS: EPISODE 4: "CUT DOWN LIKE A FLOWER"

S3:E4: TEASER

EXT. DOUBLE R CAFÉ & SKY - NIGHT

Wrinkles of Aurora Borealis drift across the sky and stars in red and green. Lit by aurora and flashes from emergency vehicles below, the neon R's of the Double R's sign compete in the strange lighting. Below, we see Mike and Bobby slouched against an ambulance and cruiser, both with flashers. Fire engine dark in background. Mike and Bobby stare at each other, smoking cigarettes. BOBBY: "You gotta do what you gotta do." MIKE: "You gotta do what you gotta do." They startle as: HEIDI (OS): "You gotta do what you got a ... light?" Heidi bundles in her yellow, green, and cornflower blue crocheted shawl. She stands between the vehicles, at the back of ambulance. She walks forward in bed slippers and puckers an unlit cigarette. Her hair tied back in a long thick ponytail. MIKE: "I got fire." He lights her cigarette. Heidi smiles. Puffs. Mike puffs. Heidi lifts up her shawl's hoodie and turns to: Joey, in firefighter uniform, exiting Double R with another firefighter, EMT kits slung over shoulders. Bobby straightens up, ditches smoke. Heidi blows a breath. Joey looks to Mike, Bobby. Heidi's eyes twinkle and light up, staring at Joey. JOEY: "You can turn your lights off, boys. Cooper refuses care." BOBBY: "Aye-aye, Captain." Bobby leans in cruiser and shuts off flashers. Mike doesn't move. HEIDI: "Aye-aye, and a third aye, Captain!" The four men stare at Heidi, who blows a puff. JOEY: "Heidi. Heidi, Norma and Ed are there. I'm sure they-" HEIDI: "Shelly? Shelly? Shelly?" Heidi looks around and then straight into Joey's eyes. HEIDI: "I'm not seeing Shelly." Joey stares. JOEY: "I-I'm sure Norma will call her." MIKE: "Aye-aye, Cap'n."

INT. DOUBLE R CAFÉ - NIGHT

Log Lady chews pitch, the only one seated. Donna and James exit Double R. Cooper breathes. Cooper sits, holding his stomach. Harry, Norma, and Albert stand around him. Doc Hayward takes his pulse, holding out his watch. Cooper breathes. We hear James' Electra Glide rev and pull away outside. In the noise, Garland whispers into Doc Hayward's ear. GARLAND: "Your wife has been attacked, at home." Doc Hayward does a double take, alarmed. DOC HAYWARD: "What!?" Cooper grabs Doc Hayward's arm, holds back saying anything, and nods. DOC HAYWARD: "You're sure your fine?" Cooper nods. GARLAND: "Go, Will." Cooper nods again and points toward door. Doc Hayward grabs his hat and coat and exits. Cooper breathes. Cooper looks over to Sam, who intently looks at a laptop. Cooper blinks. We see Gordon's concerned but stern look on another laptop. Cooper blinks. Albert touches his earpiece, removes Blackberry, begins typing. Cooper blinks.

EXT. DOUBLE R CAFÉ - CONTINUOUS (CGI)

Doc Hayward exits café, fumbles with keys, moves toward a white 2015 Volvo XC90 SUV, sees Bobby, turns, waves. Bobby walks forward. Bobby reaches Doc Hayward as Heidi and Mike watch. Bobby reacts, hustles Will to his cruiser, pressing remote button. Vehicle remote starts, remote flashes. Doc Hayward is a mess of sweat and fright. Bobby points at Mike. BOBBY: "Hayward House, possible injuries." Mike bolts into ambulance, brushing an incensed Heidi to the side. DOC HAYWARD: "Those brutal beasts." Bobby opens passenger door for Will. Doc Hayward wipes sweat from his forehead. Ambulance pulls out. Flashers, siren. Bobby pulls out backwards in a spin, tearing out, siren on. The dust storm it creates throws Heidi into a cloud of obscuring grey lit by the receding flashers, the RR, and the aurora playing in the dust strangely. Heidi coughs. We barely make out where she is. There she is, where the cherry of her cigarette glows. She blows a puff mixing in dust. Heidi coughs. Heidi giggles. Heidi coughs.

INT. DOUBLE R CAFÉ - CONTINUOUS

Cooper sighs. He clasps his fists together, closes eyes. He opens his eyes. Cooper sighs. Cooper strains a smile, stands, and walks toward the back of the Double R. LOG LADY: "You're going in the wrong direction." Cooper sighs. He waves it away as he continues on, not turning as if he had a broken rib, holding his stomach with his left arm. COOPER: "I'm fine ... bathroom." Log Lady points, Cooper moves to bathroom. LOG LADY: "Better, but still wrong." Cooper has entered the lady's. HARRY hustles to follow. INT. DOUBLE R CAFÉ LADIES ROOM. HARRY: "Cooper, you okay?" Cooper winks. COOPER: "Albert, I'm fine." Harry furls his brow. Cooper wipes his face. Regards himself in mirror, smiles, thumbs up. Cooper's words are strained under his malady. COOPER: "Harry, you're about to get several calls. I anticipate you, Albert, and Sam will be busy. But Harry, give me Hawk. Promise me, Harry." Cooper gives Bookhouse Boys sign. Cooper winks. HARRY: "Okay, but-" Harry touches his earpiece. HARRY: "Copy, Lucy ... God Almighty!" Harry turns to Cooper, shocked. Cooper lifts salute. COOPER: "Inform Albert." Harry exits. Cooper stares at his reflection, stone faced. He notices a spot of puke on his suit. On the lapel near his pin. He jerks a towel from dispenser and wipes it, bends over sink, runs water over lapel, blots with dry towel, repeats water, blots from both sides of lapel, looks up to mirror, checks the wetness of shirt and suit, almost as if checking for a bullet wound. He washes his hands in water. He raises his dripping wet hands from his abdomen almost as if covered in blood. Cooper stares into his hands. MirrorCooper stares into his hands. Identical reflection, except Cooper's left pinky ring is on MirrorCooper's right pinky. Cooper looks up to reflection. Identical, including ring, pinky slightly out as Cooper adjusts his black tie. Cooper stares into mirror. Cooper winks. Cooper turns to see Ed staring at him from the doorway.

EXT. TWIN PEAKS & ASYLUM - THE NEXT MORNING - ESTABLISHING

Acres of trees surround a hill casting long morning shadows. Atop the lone hill, a lone building, its lone road snaking and disappearing into the forest up the bucolic hill. The hill matches the height of the Great Northern and its waterfall. Nestled in douglas firs at its summit, a grey cement bubble-architecture institution is surrounded by manicured and segmented walled and barbed wired fenced grounds. Its domes and semi-domes culminate in a round guard-railed roof and observation deck.

INT. TWIN PEAKS ASYLUM - DAYROOM - MORNING

The dayroom is composed of small tables, computer stations, flat screens, games, snack area, crafts area, and the front desk. As Cooper walks toward the desk, he stops, turns and surveys the room, empty of patients. He smiles, marveling. Hawk patiently follows Cooper. At the desk, Cooper regards a dour nurse with deep grey hair and greying temples, pulled tightly into a bun. Her name tag reads: 'B. ROUNDTREE' 'Director of Nursing'. FLASHBACK 25 YEARS AGO - INT. CALHOUN MEMORIAL HOSPITAL - ANNIE'S ROOM - NIGHT (stock) A young B. Roundtree removes the jade owl ring from Annie, who lies in gurney unresponsive. Roundtree places the ring on her finger and marvels at it in the mirror of Annie's room. END FLASHBACK. Hawk waits for Cooper to speak. Roundtree stares. Cooper flashes his badge. COOPER: "Federal Bureau of Investigation Special Agent Dale Cooper. Take me to Annie Blackburn's room." Roundtree stands, we see she no longer wears the ring. Roundtree glowers. COOPER: "Don't worry, nurse, she's in no danger." Roundtree smiles. ROUNDTREE: "Your ring is on the wrong finger. Or are you divorced?" Cooper holds up his left pinky-ringed hand. He smiles broad, snaps his fingers to music.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E4: ACT ONE

EXT. NELSON HOUSE - BACK YARD - MORNING

A stray grey cat wanders in the suburban back yard, where we see a picnic table and covered grill. In the corners of the yard, and hidden in alcoves bursting with gleaming yellow daffodils, stonework fairies elves gnomes and nymphs. Mike stands with his cell phone. Mike intently stares. His face looks confused and exhausted. Then alarmed. We hear Nadine's grunts. A truck axle thuds on the ground near Mike's feet. He jumps, falling backwards, panting. MIKE: "Nadine, enough!" Nadine pops to his side, smiling. Nadine's wild sparkling chestnut eyes.

EXT. PALMER HOUSE - MORNING

Near the ground, staring up at the mighty two story house, Sarah's daffodils have not begun to bloom. Through the window of the Palmer dining room, we see Doc Hayward carry two coffees.

INT. PALMER HOUSE - DINING ROOM - MORNING

Doc Hayward sets coffees before Sarah and Eileen, whose head is wrapped in bandages. They smile. He sits with the ladies. EILEEN: "Sarah, someone attacked me last night." SARAH: "Oh my God!" Sarah grasps Eileen's hands. DOC HAYWARD: "Eileen's fine. The MRI showed only minor trauma." Eileen nods. He pats Eileen's hands. EILEEN: "I was hit from behind." Sarah covers her mouth. Eileen looks to Will. DOC HAYWARD: "She was lucky, you both were. Well, Harry told me they arrested Daniel Palmer. Lucky for you, Sarah, the neighbors saw you being dragged into the house." Sarah summons a smile. EILEEN: "Sarah, we have to tell Agent Cooper. What we did. The twins. Daniel, Beth, Maddy, Laura, Donna and Benjamin Horne." SARAH: "Leave my sister out of this!" DOC HAYWARD: "It's Cooper. One way or another, he's going to find out." Sarah tears up. SARAH: "So much hurt in this town. Everyone hurts everyone. Beth will have no more hurt." Sarah stares through patio glass doors.

FLASHBACK - EXT. PALMER HOUSE - DAY - THE PAST (CGI)

Caption: 'The Next Day.' Mount Saint Helens' ash falls like the tiniest snowflakes. Everything is covered in dust, including 7 year old pale blond Laura Palmer in pigtails, twirling in the flakes, hands posed like Black Lodge. Caption: '1980.' We pull back through closed patio sliding doors to INT. PALMER HOUSE - KITCHEN. A young Sarah in a sleeveless summer frock sees Laura outside and looks terrified. YOUNG SARAH: "Beth, I told her not to go out there!" Sarah grabs a wet towel to her nose and mouth and runs out to get Laura. In the kitchen, another 7 year old brunette girl clutches her mother's apron and skirt. Maddy in ponytails. Maddy looks up to her mother, Beth. Beth is Sarah's twin.

EXT. NELSON HOUSE - FRONT YARD - LATER - MORNING

Flowerless burgeoning tulip fronds have emerged throughout the flower beds circling the house. We see the front door is open.

INT. NELSON HOUSE - LIVING ROOM - MORNING

Through the front door, we see the mantle of the Nelson fireplace. Knickknacks and curiosities festoon the mantle. In the slightest breeze from the door, the baubles animate in twinkles and sways. Nadine sits near the mirror where she first beheld her eyes. Mike injects Nadine with a syringe. She smiles, relaxes. Mike nods. Jacoby moves toward Nadine. DOC JACOBY: "Close your eyes, Nadine." Nadine closes her eyes, smiling. DOC JACOBY: "Nadine, you're back in high school, all the dreams and aspirations of the world are before you, and it's never been a brighter sunnier day in Twin Peaks. The warmth of loved ones flood over you like the flowing silk blankets of sunset, relaxing you into deeper and deeper sleep." Cooper stands with Hawk near the Nelson kitchen. Sam is seated before a laptop and monitoring equipment. Cooper nods to Hawk. HAWK (mouthed): "Okay, I'll follow the wind." Hawk exits through open front door.

EXT. NELSON HOUSE - CONTINUOUS

Hawk moves toward his cruiser. We see up over the front of the house, over the roof, to EXT. NELSON HOUSE - BACKYARD. We see Albert, from above, as he touches his earpiece. ALBERT: "Got it." In gloved hands, Albert holds up a plastic sheet to the sun. It is the last 2 inches of plastic on a cardboard roll, the plastic still attached to the roll. Through the blazing sun, we see three holes are punched out of the plastic along a series of manufacturer letters and numbers.

INT. NELSON HOUSE - LIVING ROOM - CONTINUOUS

Jacoby relaxes back into a lounge chair, and dons his red-blue shades. Jacoby nods to Mike, who stops holding Nadine's hand, and quietly sits next her. JACOBY: "Now Nadine, it's the night the plastic was stolen, what do you see?" NADINE: "I see Benjamin Horne's Rolls drive by, the back window is rolled down, the first night of the aurora. He stares at the sky. I stare at the sky. I am outside again and again. Mikey works nights, you know. And Eddy, he's just Eddy." JACOBY: "Who else do you see that night?" NADINE: "I hear James' bike, far away. James is not visiting because he is lost. I see that dirty homeless woman." COOPER: "What is the homeless lady's name, Nadine?" NADINE: "Margaret Lanterman. Then I see Mike! And he's mad again. That's okay, I love him. He is mad the garage door is torn off again. I scream, 'I got another check! You can buy ten more doors!' He is not happy, and shows me my stolen plastic. I design wings, wings for everyday. But the plastic can't crackle. By God, those wings will be silent!" She stares. JACOBY: "Did you see anyone else that night?" Nadine grins like a little girl. NADINE: "Not really." JACOBY: "Think, Nadine, picture the exact moment you saw someone." NADINE: "I see Agent Cooper." Cooper furls his brow. Sam raises a brow.

EXT. PALMER HOUSE - LAURA'S WINDOW - MORNING

Traveling into the window, through Laura's room, spotlessly preserved, out her door, under the ceiling fan, down the stairs to:

INT. PALMER HOUSE - DINING ROOM - MORNING (CGI)

Doc Hayward looks to Eileen. She nods. Sarah looks questioningly.

DOC HAYWARD: "They recovered the rest of Laura, Sarah." EILEEN: "Oh, Sarah." DOC HAYWARD: "The man who attacked Eileen stole her wheel chair and strapped Laura's remains to the wheel, and ... my God, the savagery of these people." Sarah pats Will's hand. He can't speak. EILEEN: "Sarah, I'm so sorry." Sarah's lips quiver. Her eyes roll back. She feints. Begins to fall forward. SLOW MOTION. Doc Hayward moves to grab Sarah. Eileen stands from her wheelchair, her head without bandages. But a duplicate of Eileen remains seated in chair, with bandages. DUPLICATE & EILEEN: "Sarah!" We see two Wills. TWO WILLS: "Eileen!" One struggling to hold up Sarah, the other being helped by standing Eileen. Eileen's Duplicate touches her bandaged head, swoons. POV DUPLICATE. The room swirls in delirious blurs. END POV for normality. We see Sarah being held by Will. Eileen looks toward door, and blinks. Donna stands in doorway, stunned and alarmed.

S3:E4: ACT TWO

EXT. SHERIFF'S STATION - LATER - DAY

We are blinded by the scathing reflection of the sun on the windows of the entrance. As we move upward, the sheen diminishes to reveal a solitary crow hopping along the sign 'TWIN PEAKS SHERIFF'S DEPARTMENT'.

INT. SHERIFF'S STATION - RECEPTION - DAY

Inside Lucy's cubicle. Andy, arms folded. Lucy, arms folded. They stare at each other. Andy watches doors. Andy drops his arms and sighs. ANDY: "Punkie, don't tell Agent Cooper about the (whispers) myna birds." As Lucy opens her mouth Cooper enters, followed by Harry and Albert. Harry approaches Lucy's window. He pats his hand on the counter. HARRY: "Lucy, have Audrey Horne released." LUCY: "Yes, Sheriff." Lucy looks to Cooper. LUCY: "Agent Cooper! Agent Cooper! Those plastic dots, Horne's Department Store says the numbers 0, 3, and 1 were punched out." COOPER: "Good work Lucy, Andy." They beam. COOPER: "Albert, Harry, we are ahead of our perpetrators. These numbers may hold-" Andy nudges Lucy. LUCY: "Letters." COOPER: "Lucy?" Lucy stands. The four men stare as she switches on a monitor. Click.

LUCY'S MONITOR - EXT. SPACE - STARSCAPE ACROSS GALAXIES (CGI)

Two extraterrestrial hands with six oily black finger-tentacles, each knuckle has a sprout of another smaller and more malformed finger-tentacle, 12 fingers, 48 knuckle fingerlettes, 192 tiny knuckloids, all of which reach into the stars, and open the starscape like a circular curtain. The circular view they open to: EXT. TWIN PEAKS - DAY - DRONE CAM POV. It flies a thousand feet above Twin Peaks. BEN (VO): "Who's who? Stay tuned." Caption: 'PINK SWEAT'. Alien fingers pull circle of stars wider. Caption: 'SECRET FOOTAGE'. DRONE POV changes to EXT. WOODS - BLACK & WHITE - NIGHT. No Sound. We see a dozen people dance around a tree. They are cloaked in white sheets, layered with plastic sheets. Caption: '(re-enactment)'. We hear a computer-disguised, low voice: VOICE (VO): "These Haters, or anti-Laurites perform their rituals. Their goal: hatred and terror. Their method: chaos and drugs." Alien finger tentacles fidget wildly. Circular view FADES TO BLACK. MULTIPLE VOICES (VO): "Laura! Laura! Homecoming Queen. Queen of Hives. Hives coming home!" Click. LUCY (OS): "Oops." Click

INT. SHERIFF'S STATION - RECEPTION - DAY

Harry sneers at the screen. Cooper is wide-eyed fascinated. Albert is appalled. LUCY: "Oh, that. Ben Horne's _'Pink Sweat.'_ Hmpf!" Lucy stands in front of another monitor. It shows: 1=L 3=E 0=O and 0=O 3=W 1=L. HARRY: "Why did you assume they were letters, Lucy?" LUCY: "Well, I was thinking about birds, and I saw 'owl' then I saw (whispers) 'Leo'." COOPER: "How long have you and Andy owned myna birds, Lucy?" Andy and Lucy taken aback. LUCY: "That's just it, Agent Cooper, because Waldo, they were all named Waldo, you see, and 'Waldo' has an owl in it, like anagrams and stuff, and our myna bird, he's all sickly I think, but Doctor Gersten Hayward said I shouldn't argue with a myna bird, but I think he's not right all the time, because we taught each one to repeat the previous one, so we could keep Laura's memory alive, but this current Waldo just keeps saying 'Leo.'" COOPER: "How did you teach your first myna bird what the original Waldo said?" Lucy looks down. LUCY: "I played the old tape of him, the one before he was shot." HARRY: "You got into the evidence lockers?" She nods. Harry looks stern. ALBERT: "Bird coop, Coop, bird coop." Cooper taps keyboard. Monitor shows: 3=M 0=O 1=I. COOPER: "Moi. Me." Click.

INT. SHERIFF'S STATION - DOOR TO CELLBLOCK - LATER - DAY

A female Sheriff's guard unlocks the door to cellblock. She hands a key to Cooper. Cooper enters cellblock. Guard closes door and stands at door.

INT. SHERIFF'S STATION - CELLBLOCK - CONTINUOUS

Audrey stands, a bit disheveled, but smiling. Cooper unlocks Audrey's cell. As she takes her suit jacket from the top bunk, Cooper stares down the rows of cells to Daniel Palmer in a far cell. Audrey's emerald silk blouse is wrinkled. Audrey glows with slight perspiration and unbuttons the top button of her blouse. Cooper watches Audrey intently. She fans herself with the sleeve of the jacket. Lifting one leg at a time, she slips on her pumpkin heels. She brushes wrinkles from her skirt. COOPER: "What have you become, Audrey?" Audrey stares deeply into Cooper's eyes. AUDREY: "I'm innocent, remember." COOPER: "What are you hiding, Audrey?" AUDREY: "Nothing, Agent Cooper. I only want to help." COOPER: "You're playing with fire, Audrey. Leo played with fire, too, at the Packard Mill." Audrey turns away, then around full circle. AUDREY: "There's a hush order regarding the settlement." COOPER: "Have you seen Leo Johnson since he was released?" AUDREY: "No." COOPER: "When did you see him, Audrey?" At the cellblock entrance, Major Briggs has joined the guard.

EXT. TWIN PEAKS ASYLUM - LATER - DAY

A flock of red-winged black birds sail over the grey cement domes and bubbles of the sanitarium.

INT. TWIN PEAKS ASYLUM - NURSES STATION - DAY

Roundtree watches earlier silent security footage of INT. ANNIE'S ROOM - MORNING. On monitor, Cooper enters to a sitting Annie. He sits with her. He holds her hands as they converse.

EXT. TWIN PEAKS ASYLUM - DAY (CGI)

A lone black bird lands on a douglas fir branch overseeing the Asylum. Its head pivots and jerks, observing. POV BLACK BIRD. The quick jerks and stops of the bird rest on: a moving branch, other black birds, the sky, a glint from a rounded window, the far distant town.

EXT. MAJOR BRIGGS HOUSE - DRIVEWAY & BACK YARD - DAY (CGI)

Black. 2016. Hummer H3. Modified black tinted windows. Odd flat paint. Flat black rims. Flat black bumpers. Nothing shiny. Even the lights and reflectors have a strange micromesh over them, that from certain angles, look black. We see the emblazoned decal? of the Air Force Symbol, above its caption 'United States Air Force'. The silver and deep blue wings & star & center globe of the Symbol disappear under the strange meshing. Even the paint, on close examination, shows this texture of meshing. And the windows. The tires, too, share the same black weaving. As we travel beneath the vehicle, and low to the ground, we circle around the house and yard, through dewy grass to the Briggs back yard. There we see a root cellar's large heavy wooden double doors, paddle locked, and moored in reenforced concrete. Moving toward then into the double-fist-sized paddle lock's keyhole. Inside, tiny gears and tumblers move and acuate electronically, rearranging themselves constantly. Through the lock, we emerge into INT. ROOT CELLAR. In the dark room, lit only by a red security light, we move toward the dirt floor, enter the dirt, and travel through it and roots, then through wires and circuit boards then through layers of different colored metals, and finally wood paneling, entering INT. BRIGGS ELECTRONIC OBSERVATION NODE. We see Major Briggs and Cooper standing in a circular football-field-sized room replete with computers, monitors, tall standing adult-sized monitors, lab equipment, medical devices and machines including MRI scanner, medical liquid drug glass refrigerator, elevator, medical barometric chambers, animal and bird cages, sealed glass equipment locker showing: strange binocular goggles, black Beretta 9mm, major uniform, flack jacket, strange breathing mask with 16 ampules and 16 gas cylinders. All in the middle of a circular particle accelerator. Cooper is fascinated. COOPER: "What is this place, Major?" GARLAND: "This is 'EON', or Electronic Observation Node. Major General." Cooper regards the two stars on Garland's uniform. COOPER: "Major General." GARLAND: "I display the rank of Major outside this room." Cooper smiles broad. COOPER: "Astonishing, General! But, General, I must inform you that my being here seems to be a breach of both security and military protocol." Garland has a chuckle. GARLAND: "You alone have been authorized to be fully debriefed by the Air Force on Project Sapphire." COOPER: "Project Sapphire?" GARLAND: "All things Twin Peaks, all things inherited from Project Bluebook." COOPER: "The blue rose." GARLAND: "Indeed." Cooper follows Garland as they walk. GARLAND: "Cooper, we have tested many of the substances you iterated. Recently, the local pies, for example." Garland presses a button on a keyboard, and gestures toward its screen. GARLAND: "Other than an infinitesimal parts per billion of iridium, they are perfectly normal." Screen shows simulation of EXT. SPACE AND EARTH - MESOZOIC ERA as asteroids bombard an earlier Earth, highlighted impact clouds grey the entire planet in choking clouds. Simulated iridium falls globally. GARLAND (OS): "Iridium, you may recall, was deposited on earth in large quantities during the asteroid late heavy bombardment, leaving a layer circumscribing the entire earth." Garland turns from the screen back to Cooper. GARLAND: "The Mount Saint Helens eruption brought up and deposited enriched iridium across a vast area, including Twin Peaks. Thus, it is no surprise that local produce and wildlife, including humans, show a slightly elevated count." COOPER: "The Black Lodge." GARLAND: "Perhaps." Another screen shows the simulated depositing of iridium after the Mount Saint Helens volcanic eruption ash deposit over Washington, northern and central Idaho, a large swath of Montana, as well as portions of British Columbia, Alberta, and Saskatchewan. Another screen shows the lips of Margaret Lanterman, focusing on her mouth: LOG LADY (on screen, simulwards speak): "Remember and forever." Another screen, lines of pulse, respiration, blood pressure on 6 unknown (multi-species) patients. GARLAND (OS): "Iridium has no known biological interaction. Since your disappearance, we are far more sophisticated." Another screen showing simulated Earth in space, transpierced by poles and antipodes: magnetic pole, true north, sidereal north (Polaris), a strange Earth-Moon 'orbital' north, solar north, galactic north, magnetospheric north (strongest magnetic point in magnetosphere). GARLAND: "Cooper, those deep space monitors, both pointed to deep space and deep into the Earth have been replaced with a plethora of other monitors." COOPER: "Stranger and stranger still." GARLAND: "We have tested the owls extensively. Acetylcholine." COOPER: "Dreams." GARLAND: "Acetylcholine is in higher concentrations in all the animal life of Twin Peaks, particularly the owls. Iridium seems to spark acetylcholine production, but there is, I repeat, no known biological interactions between iridium and acetylcholine. May I inject you?" COOPER: "What!? No, Major! An FBI Agent does not use or experiment with any chemical or pharmaceutical substance." GARLAND: "This is neither, Special Agent, acetylcholine is already a part of you, it is a clue to those 'never-before-seen hallucinogenic narcotics' you spoke of at the town hall. Do you know how or why you knew that when you spoke?" COOPER: "No, Major. I would describe it as accelerated perception from my time in the Black Lodge. A heightened awareness after emerging into those douglas firs back into Twin Peaks. It's all related. The Black and White Lodges, the visions of locals, and the astral travel we experienced yesterday. The future. The past." Garland holds out a syringe. GARLAND: "Cocaine and Haloperidol impair acetylcholine. It may be why Laura self-medicated with cocaine, to stop her dreams. This syringe holds your answer. Its full of dreams and secrets." Cooper takes the needle. He stares into it. Cooper taps the needle, tests bubble from syringe. Cooper hands the needle back to Garland. Cooper removes his suit jacket, places it carefully over chair. He unbuttons then rolls up the sleeve of his left arm. Gestures for the needle. Garland hands it to him. Cooper injects himself. Garland hands him a swab. Cooper wobbles. Garland steadies him. COOPER: "I'm sleepy." GARLAND: "Yes you are, Dale."

EXT. ONE EYED JACKS - DAY (CGI)

With the rustic exteriors of the casino in background, we see a 4x6 carved wooden sign showing a painted jack of diamonds, red neon diamonds and Js, bordered in blue neon, white neon profile eye of the jack. Below the sign, a triangle of same sized video screens rotate, bordered in red neon. The screens scroll through images: 'ONE EYED JACKS' made of gold bricks, the 'Peaks' made of tumbling gold coins, 'ONE EYED JACKS' made of red diamonds, the Great Northern Falls made of curling and churning falling blue-and-white lit American and Canadian $100 bills, 'ONE EYED JACKS' made of stacked platinum dice, Black Lake made of coils of rolls of serpentining interchanging profile coins rippling like water, 'ONE EYED JACKS' made of silver, gold, and crystal poker chips, Ghostwood Forest made of black and violet pearls.

INT. ONE EYED JACKS - UNKNOWN ROOM - DAY

Into the corner of a wood paneled red carpeted room, an unknown woman's black laced toes deals tarot card: 'The Devil'. It lands Reversed (upside-down).

EXT. SHERIFF'S STATION - DAY

We see the 'H' in the sign 'TWIN PEAKS SHERIFF'S DEPARTMENT'. We pull back to reveal we are in the POV of a house sparrow on the roof below the 'H'. It flutters off.

INT. SHERIFF'S STATION - HARRY'S OFFICE - DAY - (CGI)

Harry looks over reports, tired looking. He stands, rubs his hair and head, and strolls office, looking frustrated. On a top shelf of bookcase, a chess board with locally carved Native American wooden pieces: King Chief, Queen Priestess, Bishops Medicine Men, Pawns Braves, Knights Mounted Braves, hyper-elaborate Rooks Creator Women. The Rook and castle shape, made from all the things she creates: Shoes, clothing, medicine, firewood, water, bows, squash, pottery, blankets, jewelry, hides, spears, even a tiny baby crawling on the inner ledge of the parapet, under the watchful eye of each Rook's Creator Woman. The carving seems so elaborate to the eye as to reveal it as 3D printed. The white queen contorts ala Josie's image in the wooden knob. Except this time, an arm instead of her face reaches out of queen toward Harry as he passes. Harry doesn't see it, but pauses. Click.

EXT. DOUBLE R CAFÉ - NIGHT

Catherine's black Ardea is parked in the Double R's parking lot next to Shelly's baby blue Charger and the Double R's cherry red Highlander Hybrid. The parking lot is otherwise empty.

INT. DOUBLE R CAFÉ - NIGHT

Catherine enters with two of her thugs. She wears a grey and silver fox fur. She runs a black glove along counter, testing for dust. NORMA: "May I help you?" CATHERINE: "Where's that exwife of that ex-Horne, and the exwife of that arsonist-felon Leo Johnson!?" Norma is offended. Shelly walks in from kitchen, pats Norma's shoulder as she walks up. SHELLY: "Are you lost, Catherine?" Catherine waves her words away. CATHERINE: "He wanted to burn you alive." Catherine grabs a nearby napkin. CATHERINE: "I saved you." Catherine wipes her gloves with the napkin. CATHERINE: "Now you are going to tell me his whereabouts..." She drops the napkin, and belts out: CATHERINE: "Or I swear to God!"

EXT. DOUBLE R CAFÉ - CONTINUOUS

High in a nearby douglas fir, an owl turns its head from the Double R to the night vista. Far across lower Twin Peaks, Ghostwood Forest, just below aurora, is whispered with the slightest emerald light midst the colonnade of black jagged trees.

EXT. LOG LADY'S CABIN - PORCH - LATER - NIGHT

The Log Lady holds her log, sips tea. She stares out into the aurora green night. The final embers of a fire smolder inside a 50 gallon barrel in front of her. She seems annoyed, and adjusts her seating. She pats the Log. LOG LADY: "Sh sh sh." A puff of smoke drifts into her face. She blinks. When the smoke clears, her expression has changed to a lost, open mouthed stare. She is motionless.

EXT. ROADHOUSE - STOCK AND NEW FOOTAGE - NIGHT (CGI)

The Log Lady takes her hand from her Log to Laura's forehead. LOG LADY: "When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, the wind rises, and then all goodness is in jeopardy." Laura looks horrified. REPEAT SCENE except this time: Current Laura and Current Log Lady. Current Laura lifts her hand to the Current Log Lady's forehead. LAURA: "When this kind of light starts, it is very hard to put out. The tender boughs of innocence shine first, the wind rises, and then all evil is in jeopardy." REPEAT SCENES both scenes simultaneously: They touch each other's foreheads. CURRENT LAURA & YOUNG LOG LADY: "When this kind of (fire & light) starts, it is very hard to put out. The tender boughs of innocence (burn & shine) first, the wind rises, and then all (goodness & evil) is in jeopardy."

EXT. LOG LADY'S CABIN - PORCH - NIGHT

The Log Lady stares, mouth agape. Her vision ends and her face relaxes. She stands. She slowly turns her head, as if noticing something in the far, far woods. She squints.

EXT. OWL CAVE - NIGHT (CGI)

The gaping mouth of the cave shows beams of flashlights darting around the interior of the cave. Parked outside: James' hog and a black 2016 BMW 7 series. They are lit by a lone light pole. A sign on the pole reads 'OWL CAVE' 'Ghostwood National Forest' 'United States Department of the Interior'.

INT. OWL CAVE - NIGHT (CGI)

The rough natural-hewn grey walls of the cave and its sandy floor show years of misuse. Beer cans dot the sand, graffiti mars sections of the walls. Shining her flashlight into James and Donna's face, Audrey waves the last page of Laura's diary in the dark air. AUDREY: "This is fake. This isn't Laura's writing, just doodling. 'The Black Lodge.' Whatever. And it stinks." Audrey holds the page at arm's length. With flashlights, James and Donna eagerly read 'My dear Son-in-law Robert Briggs' letter. The letter glows and reflects its light on the couple. JAMES: "Hold on, Audrey, this letter is a fake! I should have known! You were NOT married to Bobby when Ben Horne went nuts! And weren't you just in jail today for forgery?" Audrey moves closer, smiles to Donna. "I love the dumb ones." She moves over to James. "Daddy was crazy, hello. You read that stuff about inheritance in there. I think that this letter is why Bobby ever married me in the first place. And Shelly and Leo-" They are all startled, especially James and Donna by yell: HUNCHBACK (OS): "Ha-ha-han-hands!" The Hunchback wields a gun metal grey 2012 Taurus 38 5-shot mini-revolver. The three raise their hands. She waves for them to come forward, no, not all of them, no, no the ones holding the pages, no, just the pages. James takes both pieces of paper. HUNCHBACK: "P p p P! P!" The Hunchback waves the pistol between the three as James brings both pages forward. HAWK (OS): "Hold it! Drop the gun!" Hunchback whips around and fires, Hawk already in motion, firing back, blasting the Hunchback to the ground. She fires once more. Donna and Audrey scream.

S3:E4: ACT THREE

EXT. TWIN PEAKS AND SKY - NIGHT (CGI)

Caption: 'Midnight February 28.' Aurora borealis in competing curtains of emerald and ruby. As we pull back, our view pixelates into a television screen. Captions on screen: 'TWIN PEAKS WEATHER REPORT' then 'Aurora Borealis Lightshow Tonight' then television snow. Click.

EXT. CALHOUN MEMORIAL HOSPITAL - NIGHT (CGI)

Far above the hospital, the aurora dance in vibrations of evergreen paint strokes below leeching crimson saturation.

INT. CALHOUN MEMORIAL HOSPITAL - MORGUE - NIGHT

Cooper and Albert regard Laura's reassembled corpse, inside a clear body bag labeled 'FBI Evidence'. Harry is listening to his earpiece. HARRY: "Hawk just shot and killed a hunchback." ALBERT: "Midgets and Giants, and Hunchbacks, oh my!" COOPER: "Albert!" HARRY: "Audrey Horne has been shot." Cooper moves to leave, Albert halts him. Cooper looks down, then up to Harry. COOPER: "Go, Harry." Harry makes a hasty exit, holding his earpiece. ALBERT: "Before you go on another wild goose chase, I have some theories to express, Coop. Our local pathologist, Hayward, out of commission due to assault on his wheelchair-bound wife, doesn't know about the roll of thousand-Canadian-dollar poker chips that were inserted into the Palmer Girl's throat, 5 chips inserted from both directions. Ten chips. Ten thousand dollars." COOPER: "One Eyed Jacks." ALBERT: "You tell me: Roulette with the cranium? Or just down-home partying from our former party girl?" COOPER: "Sometimes my mind bends forward. Over and over and over." ALBERT: "Nice, Coop. The chips were stuffed at each end with plastic. Conclusion: the perps wanted us to find them, to implicate the willful, now shot, Horne girl." COOPER: "Audrey..." ALBERT: "One more tidbit. The poker chips were whittled into the shape of saw blades." COOPER: "Whittled..." ALBERT: "You with me, Coop?" COOPER: "Yes, Albert. Someone is trying to frame the Hornes and Martell." Albert smiles and nods. Albert removes and clicks Coopers old recorder. COOPER (VO, stock): "Diane, I've emerged from the Black Lodge, I believe it to be 25 years later, and I know how to stop the murderer of Laura Palmer. I know how to save Laura. Incredulous as that sounds, and if this device is working, Diane, I bring clues from the Black Lodge." Click. ALBERT: "She's dead, Cooper, stuffed with plastic. Look." Cooper looks uncharacteristically angry. He hangs his head. Cooper regards Laura. Her head and arm assembled with her corpse, under the FBI plastic. Cooper's face melts to grief. COOPER: "Laura..."

EXT. SKY & CALHOUN MEMORIAL HOSPITAL - EMERGENCY ENTRANCE - NIGHT (CGI)

From inside fleeting green ghosts of the aurora, we see the hospital far below. Hawk's police cruiser pulls up to a medical team already waiting. Hawk, Bobby, and Donna are issued back as Audrey is placed on a stretcher, her left leg soaked in blood. Green overwhelms our view.

INT. BLACK LODGE (CGI)

Red overwhelms our view as we pull back from the red curtains of the Lodge. Doppelganger-Man From Another Place stands by a long 12 seated oak banquet table, its tabletop enveloped in human flesh. His eyes meet the table's height. He is wild eyed. He tiptoes up, so that his mouth now meets the table top. He ravenously slurps sucks and gobbles up all the flesh, revealing fake green formica below the flesh, streaked with blood. He tiptoes down. Turns. His eyes darting. He pukes out bloody creamed corn garmonbozia by the gallons. On the red drapes, chairs, table, especially the chevronned floor. He laughs hysterically, pointing at the pile like a kid at a parade. MAN FROM ANOTHER PLACE (backwards speak): "Wee-ha! Cowboy!" He dives into the yellow red slop with a belly flop and wallows in it, mimicking and screaming like Sarah Palmer on crack, and parroting and giggling like Heidi on acid. He manically vacuums every drop of slop. MAN FROM ANOTHER PLACE (backwards speak): "Chemicals! Numbers! Birds!"

INT. ANOTHER BLACK LODGE - REVERSE MOTION

Same room. No dwarf, table, nor garmonbozia. Chairs, end tables, lamp. Cooper walks backward into room. Laura is seated in Cooper's chair where he would normally be seated. She wears her black gown emblazoned with its silver spray cleavage pin. She watches Cooper with a blank expression. Cooper sits across from her in Laura's chair. LAURA: "Hello, Agent Cooper. Are you Agent Cooper?" COOPER (backwards speak): "I feel like I know him, but sometimes my thumb bends up." Cooper walks backward to her and whispers in her ear. COOPER (backwards speak): "I know who killed your father. Bob killed your father and your father killed you." Cooper winks. Cooper transforms to forward motion. Laura stands, and begins walking backwards out of room. COOPER: "Laura, where is Bob now!?" LAURA (backwards speak): "I feel like I have seen him, but sometimes my belly button bends left and right." Instead of pointing left and right, Laura points both up and down. Her hands resume the vase holding stance. She stands, posed, then walks backwards towards the corner curtains, spinning and exiting through the red drapes. As Laura spins posed and exits, Maddy, posed and counterspinning as a mirror of every Laura movement, enters. Maddy walks forward, her hands a posed opposite of Laura's. She sits in Cooper's seat.

Bird's eye EXTS: EARTH AND SPACE (CGI) then NORTH AMERICA then WASHINGTON IDAHO MONTANA BRITISH COLUMBIA MANITOBA SASKATCHEWAN then TWIN PEAKS COUNTY then TWIN PEAKS then GREAT NORTHERN.

INT. GREAT NORTHERN - BANQUET HALL - NIGHT

Ben's arm in warm embrace around Johnny, who rocks back and forth tensely. Johnny's Laurasculpture is being removed by hotel workers. Ben looks down to his hand. Ben holds Cooper's old room key, and its diamond shaped green plastic key chain fob 'ROOM 315'. Ben smiles, reminisces. AUDREY (VO, stock): "I saw a friend of mine, cut down like a flower that had just begun to bloom." Ben pockets key. Ben looks over to Jacoby, who nods. As Ben leaves Johnny's embrace, Doctor Jacoby joins it. Ben looks down to his watch, and marches out midst sidestepping entering and exiting workers.

EXT. SHERIFF'S STATION AND NORTHERN AVENUE - LATER - NIGHT

The road to the Sheriff's Department is police taped off. The strange reflective tape, striped in black and yellow, reads 'SHERIFF'S DEPARTMENT' [logo] 'DO NOT ENTER' [logo] 'SHERIFF'S DEPARTMENT' [logo] 'NE PAS ENTRER' [logo] 'SHERIFF'S DEPARTMENT' [logo]... On the letters, only the green is reflective on the brown, lime green trimmed letters. On the logos, only the trees, peaks, snow, sky and shape of the logo are reflective. Behind each Twin Peaks Sheriff's Department logo, a thick diagonal slash of reflective red. Near the tape, a black 2016 Rolls Royce Phantom.

INT. SHERIFF'S STATION - RECEPTION & HALL - NIGHT

Cappy mans the dispatcher station. Farther down the corridor, Harry stands with Cooper, who sips a to-go coffee. HARRY: "I don't know how you do it, the caffeine alone..." COOPER: "Harry, the night's just starting." Ben enters through front entrance, steaming, and marches past Cappy, who holds out a pen. Ben stops and looks down both directions of corridor. He marches toward Harry. "Sheriff Truman, how long are you going to close Northern Avenue!" Ben points to doors. HARRY: "We are still doing forensics. Gathering remains." Ben points his finger. BEN: "Listen, Sheriff, my guests are terrified and I demand-" COOPER: "Shouldn't you be at the hospital with Audrey?" Ben looks to Cooper. Hubbub at reception. CATHERINE OS): "Lawyer!" The three move around corner to reception to see Catherine, her hands cuffed behind her, being escorted by Bobby. CATHERINE: "I should have known! The Hornes. This is rich! Arrest _me_ for disturbing the peace, and before you is the fiend who supplies the vandals, murderers, arsonists, and prostitutes!" BEN: "Careful, Catherine, we have witnesses. Wouldn't want a libel suit." CATHERINE: "You need a new suit!" Bobby moves Catherine to the adjoining waiting room, and seats her in a chair and walks to Harry and Cooper. BOBBY: "She wanted to see Leo. Witnesses say she threatened Norma and Shelly. She had her woodsmen with her." CATHERINE: "Robert Briggs, another Horne in my side, offspring of the goat!" Cooper and Harry walk to Catherine. COOPER: "Catherine Packard Martell, have you recently seen Leo Johnson?" CATHERINE: "Agent Cooper, instead of arresting a victim of Leo Johnson, my dear mill, you should be out stopping all this criminality. You should be out looking for Twin Peaks' most notorious criminal, Leonard James Johnson, right up there next to Leland Palmer and their overlord, standing next to you." COOPER: "I believe Benjamin Horne is being framed. Rolling the remains of Laura Palmer down from the Great Northern, using Finley's Fine Twine to secure the remains to the wheelchair, purchased from Hornes Department Store. Like the shovels." CATHERINE: "I hate that plastic girl and what she's done to our town." Bobby signals to another Sheriff. Ben moves closer to Catherine. Harry and Cooper walk back to Bobby. Cappy stares across at her spectacle. As she is escorted by the Sheriff, they pass Ben in the hall. He whispers in her ear. BEN: "Where's Leo?" CATHERINE: "Leo who? Oh! The horoscope. Read that filthy rag Milford Gazette. Or, let me paraphrase all horoscopes ever, everywhere: 'You. Will. Discover. New. Opportunities.'" As the Deputy escorts Catherine she stares back to the front doors, seeing Bobby exit. CATHERINE: "Hmpf!" Cooper, standing with Harry, down the corridor, stares intently at Ben and Catherine in the distance. HARRY: "Night's just beginning, eh?" Cooper smiles broad. "Yes, Harry. And later, another beginning."

EXT. SHERIFF'S STATION & NORTHERN AVENUE - CONTINUOUS

Bobby enters his cruiser and pulls out to the west of station, the east being roped off with fluttering and sparkling police tape.

EXT. LYDECKER VETERINARY CLINIC - LATER

Bobby's cruiser drives by, slows. The lights are on in the clinic, and the parking lot is full of cars. The cruiser continues on.

INT. LYDECKER VETERINARY CLINIC - WAITING ROOM - NIGHT

The waiting room is overwhelmed with pets and townsfolk. Parakeets, a cockatoo, a bat, cats, even a chicken. No dogs. Animals are noisy and freaked out. In lab coat, Gersten stands with Andy and Lucy. And Waldo, their myna bird, aloft his perch in a gold foil cage. ANDY: "What's happening, Doctor? Is it the northern lights?" GERSTEN: "No, Andy. I don't know. No. (louder) I want the worst cases first." Andy and Lucy sit down. An elderly couple bring their siamese cat, its ears shredded and gashes in its skull. ANDY (whispers): "Some of these animals have blood on them, Lucy. Waldo will be okay." WALDO: "No, Leo, no!" Lucy glares at Waldo. She covers the cage with a black sleep shroud. As she zippers it closed, we hear the stock audio of the Log Lady snapping the owl's neck. The audio echoes.

INT. BOBBY'S CRUISER - LATER - NIGHT

Bobby pulls up to the Nelson House. He touches his earpiece. We hear radio quiet static strangely echo. BOBBY: "337 Park Avenue on welfare check." Bobby waits a moment. BOBBY: "Copy that." Bobby exits cruiser.

EXT. NELSON HOUSE - FRONT YARD - CONTINUOUS

Bobby looks around the neighborhood. He draws his flashlight and looks around. He pauses, grabs a cigarette and lights up. Two puffs and he discards the smoke and moves toward the Nelson back yard, brightly lit up by a security floodlight, a shadow moving around yard. He slings his flashlight.

EXT. NELSON HOUSE - BACK YARD - CONTINUOUS (CGI)

Nadine sprays hose water on a long piece of plastic. Wearing plastic wings, she slip-n-slides down the length of the plastic. "I can fly! Oh, Eddy, if you could see me now." Nadine jumps up from the plastic, soaked. She crawls on all fours. Jumps on the stray grey cat, breaks its neck, picks it up with her bare foot, foot-lifts it to her mouth, and tears off a piece of its fur and flesh with her mouth. Seeing more of the yard, we see Bobby, mouth agape. He touches his earpiece. BOBBY: "Cappy, send an ambulance. Nadine's messed up. Call Michael Nelson at T.P.A.S." CAPPY (VO): "Copy Deputy Briggs." Bobby shakes his head.

EXT. TWIN PEAKS FROM ASYLUM HILL - LATER - NIGHT

We see flashing lights of Bobby's cruiser and a TPAS ambulance in extreme distance, lighting up the trees around the Nelson house. Our view turns to the dark Asylum. The arced windows on its varied domes reflect upward and the shifting aurora braided in twisting scarlets and apple greens.

INT. TWIN PEAKS ASYLUM - PHARMACY - NIGHT

Dark. On a shelf midst other drugs, we see vials of haloperidol, lit inconsistently by passing outside wisps of aurora. Nearby, a wooden foreleg in plastic package. MATCH shot to:

INT. BLACK LODGE

Foreleg wrapped in plastic. Lying in the middle of the empty chevronned floor. The four-walled red curtains flutter slightly. And as we see the corners of the room, the curtains open and close rapidly, almost flapping. Each corner, wildly, as if lifted by hundreds of invisible ghosts. Though they flap and swim, no sound. The wooden foreleg stands. It dances in the center of the room, wrapped in crackling plastic.

EXT. PALMER HOUSE - NIGHT (CGI)

The windows of the house-CUT TO:

INT. PALMER HOUSE - LIVING ROOM - CONTINUOUS (CGI)

In the dark room, Sarah sits in an easy chair, mouth agape, lit by and watching a television whose screen we neither see nor hear. Her eyes are distant, lost. As we rotate around behind her, we see and hear the television: INT. BLACK LODGE repeat scene above on television. And the now loud crackling, snapping, crunching of the plastic dance. Further rotating back to Sarah, eyes lost. Sarah's lips do not move: SARAH (WINDOM VO, backwards speak, filtered): "Where are my legs? They are in the Black Lodge." We move toward Sarah's eyes. Right eye. Into the blackness of her pupil, and out of the blackness into:

EXT. GHOSTWOOD FOREST - DAY (CGI)

In a grove of heavy, thick, white-barked sycamores towering over her, we see Sarah Palmer as a white centaur. She wears silver armor and barding. Her hair, though white, bristles from head and mane, forming a fluffy immense white mohawk. A diaphanously veiled mohawk. She stomps a hoof. SARAH: "Leland!" Leland hops up, hiding in the nearby red honeysuckle bushes. Leland is a two-faced, faun-satyr, dressed in rags. And white silk bow tie. Left satyr: black hair, hairy, red-eyed, curled horn. Right faun: white hair, nubile, bright eyed, tiny fawn horn. LELAND: "Thirteen." Sarah strings an wooden feathered arrow. Leland jumps around. SARAH: "I swear, Leland!" LELAND: "Yummy yummy yummy!" Leland chomps his teeth at Sarah, keeping his distance. He chomps again. Chomp. Chompity chomp chomp. Chomp. He gnashes his teeth together again and again until he busts his own teeth off against each other. All of them, leaving a mouth full of bloodied jagged shards. He has even bitten off parts of his lips and cheek, making his mouth a mighty maw. LELAND (BLEND VOS LELAND BOB LEO WINDOM, backwards speak): "Okay, bitch! It's your turn."

EXT. PALMER HOUSE - NIGHT (CGI)

The windows of the house look like the odd video quality of Sarah's television. Except, here, we see through the windows to the rotating view of Sarah during her vision, her head filling most the windows of the house, and rotating past her, the living room with the television showing the now camp fire like snapping and crackling of plastic of the leg in the Black Lodge.

EXT. WOODS - NIGHT

At the base of a hill jutting with tall ponderosa pine, lit only by the moonlight and gloaming red passing aurora, Leo stands, an arm around a pine, cheek to its bark, eyes cast to the moon, which causes an odd waning moon dot reflection in each eye. LEO: "Okay, bitch! It's your turn!"

EXT. GREAT NORTHERN & DOCKS - NIGHT

Next to the bark of a high douglas fir, we see down to the docks, 4 gleaming white speed boats, jet skis, far up the west coast of Black Lake, one or two cabins lit with bonfires, parties still underway. The Great Northern's polished windows reflect the nearest bonfire. As we move toward the third floor, we see a solitary tall vibrant healthy douglas fir, whose needles do not quite reach to the window of room 315.

INT. GREAT NORTHERN - COOPER'S ROOM - NIGHT (CGI)

Cooper's room is empty. And speckless. We see the window and the fir outside. In the corner of the window, an unassuming security box. Electronic tone. Cooper swings the door open, smiling wide. Harry looks tired. Cooper tosses and catches a spool of fishing line. COOPER: "Thank you, Harry, who would have guessed Black Lake sported such large fish!" Cooper tosses a laptop case on his bed. While Cooper removes his trench coat, Harry stoops over to stare at the 'Josie' wooden knob. Cooper closes door. Harry stares at it from several angles. Touches it. Turns it. As Harry turns to speak to Cooper, Cooper is already beside him. Harry startles. HARRY: "Crap, Cooper, don't sneak up on me like that." COOPER: "Harry, I know you have not been yourself lately." HARRY: "It's just a wooden knob, Cooper." COOPER: "Exactly. Something's missing. It's a puzzle piece, Harry." Harry shakes his head. HARRY: "Cooper, I'm having a real hard time believing any of this." Cooper smiles broad. COOPER: "You don't have to, Harry. Another beginning. There are ways for you to see." HARRY: "Cooper, Margaret tried that when she burned her log. I didn't dream or see anything." COOPER: "Harry, let me remind you about acetylcholine and Haloperidol. Acetylcholine accelerates dreams. Haloperidol inhibits them. The drug Leland Palmer fed Sarah Palmer when he anaesthetized her, the same drug used by the One Armed man, Phillip Gerard. And by Windom Earle." Cooper smiles broader, snaps his fingers to music. Cooper walks to window, presses security button, opens window with his right hand, clicking with his left. COOPER: "Smell that air! Smell that aurora-filled air!" Cooper winks.

FADE TO BLACK

CGI Caption: 'SPONSORED BY HORNE OBSERVATORY' in wood bark brown letters outlined in bright green douglas fir needles. The bark grows, the needles flutter.


	5. He Sounded Like an Animal

(Third Edit: 8-18-18)

TWIN PEAKS: EPISODE 5: "HE SOUNDED LIKE AN ANIMAL"

S3:E5: TEASER

EXT. WOODS - STOCK AND NEW FOOTAGE - NIGHT (CGI)

At the base of a hill jutting with tall ponderosa pine, lit only by the moonlight and gloaming red passing aurora, Leo stands, an arm around a pine, cheek to its bark, eyes cast to the moon, an odd waning moon reflection in each eye. LEO: "Okay, bitch! It's your turn!" Leo licks his lips.

EXT. ROADHOUSE - STOCK AND NEW FOOTAGE - NIGHT (CGI)

The Log Lady takes her hand from her Log to Laura's forehead. 1991 LOG LADY: "When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy." Log lady strokes Laura's face, touches her hands. Laura moves to the Roadhouse's entryway, stopping to regard her image in the mirrored glass. Laura's current age and calm visage is reflected in window, next to past Laura's frightened reaction. Past Laura moves towards reflections of the two Lauras.

EXT. WOODS - STOCK AND NEW FOOTAGE - NIGHT (CGI)

Leo's eyes, cast to the moon, an odd waning crescent moon reflection in each eye. LEO: "Okay, bitch! It's your turn!" Leo licks his bloody lips.

INT. LAURA'S BEDROOM - STOCK & NEW FOOTAGE - NIGHT (CGI)

1991 Laura stares up, face suddenly lit. An unnatural light scintillates on the ceiling. LAURA: "Who are you!? Who are you really!?" The light scintillates. We now travel into that light. And out the other side. Current Laura watches past Laura from INT. BLACK LODGE through a scintillating light in the Lodge's red curtains. CURRENT LAURA (backwards speak): "Electricity."

EXT. WOODS - STOCK AND NEW FOOTAGE - NIGHT (CGI)

Leo's eyes, cast to the moon, an odd waning crescent moon reflection in each eye. LEO: "Okay, bitch! It's your turn!" Leo licks his bloody lipless teeth.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E5: ACT ONE

EXT. SPARKWOOD & 21 - NIGHT (CGI)

Stoplight yellow. Turns red. 3 sparks fall. LAURA (backwards speak, VO): "Electricity."

EXT. WOODS - STOCK AND NEW FOOTAGE - NIGHT (CGI)

Leo's eyes, cast to the moon, an odd waning moon reflection in each eye. Leo tries to speak, but his bloody lipless teeth widen, showing another set of teeth emerging. Then another bloody jaw and head, as an amniotic embryonic sacked full grown human emerges from Leo's split open mouth, head, neck, torso. Leo collapses backwards. From inside the sack's plasticity, a face moves under the tissue. Is that Bob?

EXT. SPARKWOOD & 21 - NIGHT (CGI)

Stoplight yellow. Turns red. A fourth spark falls. LAURA (backwards speak, VO): ".yticirtcelE"

EXT. SHERIFF'S STATION - ESTABLISHING - DAY (CGI)

Syncopated to music, we rhythmically travel in and out of a sunspot reflection on the front doors, near the security doors' keypad. Each time we exit the sunspot in a new direction, a new reflection on the window. Sunspot. Reflective Twin Peaks Sheriff's Department Tape. Sunspot. Far off Ghostwood Forest across river. Sunspot. Nearby logging train slowly pulling out of Twin Peaks. Sunspot. Sheriff's cruiser in front of station. Sunspot. Logging truck with six mammoth logs, pulling wide to turn. Sunspot. The barely visible daytime waning crescent moon. Sunspot. The cement steps and strange stone monument in front of the station. Sunspot. Stopping on keypad. Electrical glitch. Red Caption on keypad: 'PLEASE STAND BY'.

INT. SHERIFF'S STATION - CONFERENCE ROOM - DAY

Florescent light flickers over Cooper, who stares at a photo of Laura. Cooper looks lost in thought, sips coffee. He sets photo on table and takes a jelly filled donut. He regards the blueberry filling on its edge. He goes to bite donut, then regards the donut again. Hawk enters and approaches, Cooper nods. COOPER: "Hawk." HAWK: "I did what you requested, I followed an owl Betty Briggs spotted. That owl took flight when the Hunchback drove into town. 2014 maroon PT Cruiser." Cooper smiles, takes a bite. HAWK: "So I followed the Hunchback as she followed Audrey Horne. Audrey then met with Donna Hayward at the Double R, both left immediately in separate cars to meet James Hurley at the Owl Cave. Paperwork exchanged." Cooper sips coffee. HAWK: "The Hunchback approached them, drew a gun and demanded the documents. I drew my pistol, yelled 'Hold it! Drop the gun!' and fired after the Hunchback fired. I killed her, I thought, but she got one more shot off, wounding Audrey Horne in the right leg, shattering her kneecap. She might lose the leg." Cooper grabs Hawk shoulder. Cooper breathes and sets his donut and coffee down. Cooper signals Hawk to continue. HAWK: "I had to get Audrey Horne out of there, so I ordered all three into my vehicle, radioed Lucy, and she signaled emergency services. I checked the Hunchback's pulse. But I left her body, Agent Cooper, and someone replaced it with a hog, wrapped in plastic burlap." COOPER: "The Hunchback, who does she work for?" HAWK: "Catherine Martell."

INT. CATHERINE'S JAIL CELL - MOMENTS LATER - DAY

Cooper watches cuffed Daniel Palmer being escorted out by Andy. DANIEL: "You must be Agent Cooper. So pleased to meet you. Doctor Daniel Palmer." Daniel raises his cuffed hand to shake Cooper's. Cooper stares. COOPER: "Take Doctor Palmer to Interrogation, Andy." Andy nods, tired eyes. ANDY: "Yes, Agent Cooper. Sorry, Agent Cooper, I didn't get much sleep last night." They exit. Cooper turns to Catherine. COOPER: "Catherine Martell." CATHERINE: "Why am I being held for disturbing the peace when real thugs-" COOPER: "You are also being held for questioning and implication in attempted murder." CATHERINE: "What!?" COOPER: "The Hunchback-" CATHERINE: "Was on her day off! God only knows what she gets up to! She's a lunatic, a parasite, a Laurite. What do you expect from the last surviving Renault sister? Lock her up! And tell the bitch she's fired!" Catherine dusts her hands off. CATHERINE: "But wear gloves."

EXT. MAJOR BRIGGS HOUSE - BACK YARD - THE CELLAR - DAY

The cellar door, in reinforced concrete. Closer to the door, we see a trail of tiny ants and a strange berry? that they are disassembling.

INT. BRIGGS ELECTRONIC OBSERVATION NODE 'EON' - STOCK AND NEW FOOTAGE

Garland snaps on rubber gloves. In a dark barometric chamber, we see a restrained monkey. MONKEY: "Judy." Monkey thrashes. A robotic auto-syringe injects Monkey. On a screen, elsewhere in room: Google Earth view: EXT. LYDECKER VETERINARY CLINIC - NIGHT. Captions on Screen: 'Lydecker Clinic.' 'Location of Incidents:' Incidents appear, forming a ring of houses around Twin Peaks. Center point of animal incidents has a target, reading: Caption: 'City Hall.' Strange pixelation on screen.

INT. PHILADELPHIA FBI HEADQUARTERS - GORDON'S OFFICE - STOCK FOOTAGE - DAY (CGI)

Strange pixelation throughout. Cooper, Gordon, and Albert watch as Phillip Jeffries enters office. PHILLIP: "I'm not going to talk about Judy! In fact, we're not going to talk about Judy at all! We're going to keep her out of this!" COOPER: "Gordon!" GORDON: "I know, Coop." Phillip points to Cooper. PHILLIP: "Who do you think this is, there!?"

EXT. HAPPY HELPING HANDS ADOPTION AGENCY - DAY

In a large round flowerless flower bed whose soil has recently been tilled, a sign stands in front of a modest building. The sign shows two adult hands holding up a toddler's hand which reaches up to them. Sign reads: 'Happy Helping Hands' 'Adoption Agency'.

INT. HAPPY HELPING HANDS ADOPTION AGENCY - DAY

A woman sits at her desk. Her name tag reads: 'Judy Swain' 'Chief Agent.' She holds a file with latex gloved hands. The file reads: 'Ferguson, Madeline.' She inserts the file into a large manilla envelope, and self-seals it. The label on the front of envelope: 'Twin Peaks Sheriffs Department.' Her eyes widen over an expectant smile. She pats the envelope. JUDY: "Laura."

EXT. TWIN PEAKS STREETS - DAY

We hear a crotch rocket pull up to a black cherry red 2013 mustang convertible with its top up, parked near the intersection of Sparkwood & Division, the Double R Café in the far distance. Rocket throttles off. Bobby, in civies, approaches the mustang, opens door, and hops into the passenger seat.

INT. MIKE'S CAR - CONTINUOUS

Mike sips to-go coffee. Bobby lands with a thud in passenger seat and closes door. Mike tries not to spill, annoyed. Bobby blows a breath. He stares for a moment, and turns to Mike. MIKE: "I committed Nadine to TPA." BOBBY: "You had to, Mike, she's ... Mike, she's-" MIKE: "Nuts, I know." BOBBY: "Yeah." Mike stares down to his coffee. MIKE: "Bobby, she's always been kinda off..." Bobby nods. MIKE: "You know, she's never given up on her inventions though, but this time..." Bobby rolls down window. MIKE: "She's always been so strong, literally. She's-" BOBBY: "Dangerous." MIKE: "Yeah." Bobby pats Mike's shoulder, withdraws a pack of smokes. Takes one. Offers Mike one. Mike takes one. They light up. BOBBY: "So, Snake, don't get pissed, but if she's incapacitated, how does that affect ... how does it affect her business? What's it called?" MIKE: "'Silent Whispers'." Bobby nods, puffs. MIKE: "Big Ed owns half, and I know he's put money into it all these years. I can finally get him out of her life, and out of the picture." Bobby taps Mike's chest. BOBBY: "So take a few days off, um, nights off. We got stuff we got to do." MIKE: "Leo?" BOBBY: "Yeah, Leo." MIKE: "You work with Ben Horne! Ask him, point blank. Where the f*ck is Leo!?"

EXT. SPARKWOOD & DIVISION AND DOUBLE R CAFÉ - CONTINUOUS

Leaving Mike's black cherry red mustang, and Bobby's worried face inside the convertible, we travel past Bobby's silver & red Ninja H2R crotch rocket down Division several blocks: Past rollicking kittens jumping around a front yard. Past rolling logging trucks, three in a row. Past ruffling ponderosa pines in vernal renewal. Past rushing customers smiling like Halloween trick-or-treaters, bags in tow. To Norma's cherry red Highlander SUV, parked outside the Double R Café. Customers circumvent the Highlander and gather to enter front doors, one customer looking at his watch.

INT. DOUBLE R CAFÉ - DAY

Shelly smiles as customers enter the crowded café. Norma, Shelly, Heidi look over 6 flat sheets holding 36 pies. All smile broad. Heidi and Shelly and Norma all have e-tablets. Norma looks up to the Double R's clock. Clock reads 3:00. Norma nods. HEIDI: "Two huckleberry slices, one huck to go." SHELLY: "One triple berry jackpot, one huck to go." NORMA: "On-Line, immediate delivery, 3 hucks to-go, better hurry folks!" HEIDI: "One peach mango marmalade dream, dream on the side, to stay, 4 plates." SHELLY: "One slice cherry, two forks, make it double dreamy." LEO (OS): "Shelly!" Customers and staff startle. Customers part to reveal Leo, hands out to his side like a cowboy ready to draw, eyes under his brows. LEO: "Shelly!" Norma comes forward, arms on hips. Heidi discards her tablet to table, awkwardly pulling out mace gun from her apron. Shelly joins Norma, a hand on one hip, in her other, a fork.

S3:E5: ACT TWO

INT. JOHNSON HOUSE - THE PAST - STOCK FOOTAGE - DAY

1991 Shelly cries, stands with Bobby. SHELLY: "I shot him, Bobby, I know I did. He just screamed and screamed. He sounded like an animal."

INT. DOUBLE R CAFÉ - DAY

Heidi holding mace, now huddled with Norma and Shelly. LEO: "Whoa, everyone. Whoa, whoa, whoa!" SHELLY: "Get out of here, Leo!" LEO: "Don't you want to know why I'm back, Shelly?" SHELLY: "I don't care, Leo!" LEO: "I'm here for a slice." Leo gestures to pies and customers. LEO: "A slice a pie." NORMA: "You're not welcome in this establishment, ever." SHELLY: "Leave, Leo, forever!" LEO: "Can I get it to go?" HEIDI: "Never, you animal. I'll k-kill you, my own s-self!" Leo grins. "Three little piggies, sitting in a tree. Piggy wobbling and piggy falling down. Piggy all black and blue, breaking its crown. Two little piggies sitting in a tree." Leo sneers and grins. As Leo turns to leave, we see James entering. James immediately tackles Leo in a fury. Almost like a uncaged feral animal, James throws punches and blocks as Leo attempts to land a punch. Screams. Heidi can't aim the mace. Customers scuttling. Cell phones. James manages to get Leo on his side, Leo's left arm gripped, but not yet wrenched back. SHELLY: "James!" As James gets more and more of the upper hand, now having both Leo's arms in a tangle, the windows flash with red, white, and blue Sheriff's lights.

EXT. SPARKWOOD & DIVISION - MOMENTS LATER

Mike stares through binoculars down to the Double R. MIKE: "If that don't f*ckin beat all! Unmotherf*ckin believable! Leo Johnson!" Bobby grabs binoculars. BOBBY: "Give me those!" Bobby stares through binoculars. BOBBY: "Shelly... The f*cking sh*t f*ck! F*CK! Leo Johnson is f*cking dead! I'm going to f*cking kill that f*ck! That f*ckin dead f*ckin dead head f*ck. F*ck he is a dead f*ck! Told you he was back." Bobby turns to Mike. MIKE: "You hurt my nose, Bopper!" Mike's left nostril bleeds. BOBBY: "Well, Leo's going to do a lot more than that." Bobby stares through binoculars.

EXT. DOUBLE R CAFÉ - DAY.

Two sheriff cruisers, lights flashing. They reflect on the chrome of James' Electra Glide hog, parked nearby. We see the front of James' bike, reflecting flashes of red white and blue. Match shot to:

MONTAGE - STOCK 1991

James' hog reflected in still video of Laura's eye. Laura in train car mirror, then Bob. Cooper in mirror as he bangs his head into it. Leland in mirror with Bob. Audrey and Donna in high school girl's room mirror. Josie in mirror applying lipstick. Laura in Roadhouse window. Reflection of flames in Thomas Eckhardt's sunglasses. Reflection of Red Curtains in Roadhouse mud puddle. Leo in coma, reflected in medical mirror.

EXT. SHERIFF'S STATION - LATER - DAY

Two Sheriff's cruisers pull up. Leo is in the back of Andy's cruiser.

INT. SHERIFF'S STATION - INTERROGATION - DAY

Daniel Palmer sits, cuffed, at far end of table. Albert, Cooper, and Hawk all stand at other end, near door. COOPER: "Doctor Palmer, Sarah Palmer has confirmed that Leland had a twin." Daniel holds up handcuffed wrists. DANIEL: "Then why the charm bracelets?" COOPER: "Deputy Chief, remove Doctor Palmer's restraints." Hawk does. DANIEL: "Thank you." COOPER: "Sarah Palmer has also filed for a restraining order against you. It is on her word alone that I am releasing you. Stay away from Sarah Palmer, Doctor." DANIEL: "Of course, Sarah knows best. Sarah's a good woman. Troubled." ALBERT: "One question, Mr. Palmer, before you are released. Why are you in Twin Peaks?" DANIEL: "Why Beth, Sarah's sister. There was nothing anyone could do. She is being flown here, you see. Beth's insane. She should be next to Sarah, and she wants to be with Maddy, and of course, Laura. She will be at the Asylum in two days if you want to see for yourselves." ALBERT: "Busy place." COOPER: "Are you Beth's husband?" DANIEL: "Oh, no, no, no. Beth and I never hit it off. No spark. No fire." LUCY (VO): "They're here, Agent Rosenfield." Albert thumbs Daniel to exit. Daniel, then Hawk exit. Albert and Cooper follow toward INT. RECEPTION. As Daniel rounds corner, he is startled to a strange half smile half startle as Leo is pushed forward by Andy, who enters front doors. Leo messed up, bloody nose, and scowling. Odd continual buzzing sound from Lucy holding doors open for two more Sheriff's, escorting in James, also in cuffs. James a little tore up, bloody lip, but smiling. Leo passes, then regards Daniel, sneering. LEO: "You!" Hawk intervenes between the two. DANIEL: "I'm afraid you're mistaken-" Cooper and Albert enter reception. COOPER: "Leo Johnson!" LEO: "You!" Leo snarls. LEO: "Hey! He attacked me! Not the other way around!" James hangs his head. HARRY: "Take James to Holding, Hawk." Harry looks to Albert. ALBERT: "Andy, take Mr. Johnson to interrogation." Cooper gives big thumbs up. Hawk, James, Albert, Leo, Andy, Sheriffs exit. Harry and Cooper turn to a stunned Lucy. LUCY: "I told you, Sheriff Truman, Waldo kept saying 'Leo.'" Harry leans in to Lucy. HARRY (whispers): "Lucy, I want you to listen to me. Lucy, I don't want to do this, but I hereby suspend you for one day, without pay, for tampering with evidence." LUCY: "Gosh, Sheriff, I'm sorry." HARRY: "I know, Lucy, I know. No more getting in there without authorization." LUCY: "Aye-aye, Sheriff. I'm tired anyway." Lucy looks down. COOPER: "Lucy?" Lucy looks up. COOPER: "Lucy, discipline is a necessary part of law enforcement." LUCY: "I know, but it was 24 years ago." Lucy yawns. Door sounds, Lucy presses entry button. HARRY: "Lucy, why are you and Andy dragging your heels today?" LUCY: "Waldo." Jacoby enters station and sails up to Harry and Cooper. Jacoby smiles broad under his red blue sunglasses. JACOBY: "Annie Blackburn spoke to you!" Cooper nods. JACOBY: "With the exception of few others, she has not spoken to anyone. And never, in 25 years has she spoken to me, period. I wrote about a similar patient, in my third book, 'My Journal through Journey Minds.'" Jacoby chuckles. JACOBY: "I'm not allowed to see her, you see." More chuckles. JACOBY: "So, what say you, Agent Cooper? Can we see her together?" COOPER: "Why would you want to, Doctor?" JACOBY: "Just to hear her voice."

INT. INTERROGATION - DAY

Cooper and Harry join Andy, Albert and Leo. Albert waves to Cooper to start. COOPER: "Leo Johnson, why did you come back to Twin Peaks?" LEO: "I have just as much a right to be here as you." COOPER: "Where did you get the Trans Am?" LEO: "I own it." COOPER: "Why did you go to the Double R?" LEO: "I wanted to apologize to Shelly." ALBERT: "The woman you tried to burn to death, along with Catherine Martell and the entire Packard Mill?" LEO: "Yeah, that Shelly." HARRY: "That's victim intimidation, Leo." LEO: "I didn't threaten her." COOPER: "When did you arrive in Twin Peaks?" LEO: "Two days ago." COOPER: "Witnesses put that Trans Am at four, Leo." LEO: "She's wrong." ALBERT: "Who's this she?" LEO: "He's wrong, then." HARRY: "Who did you see during those four days?" LEO: "Two, and no one. I slept in my car." COOPER: "Leo, Leo, Leo. At this moment, Judge Sid is signing a search warrant for your vehicle. What are we going to find, Leo?" LEO: "Nothing." Leo swallows. Albert touches his earpiece. ALBERT: "Copy, Lucy." Harry nods. Leo stares at Cooper. ALBERT: "Sheriff, may I take Deputy Chief Brennan?" Andy smiles. HARRY: "Sure, let us know." ALBERT: "Let's get you some coffee, Andy." Albert and Andy exit. COOPER: "Leo, this is your first, last, and only chance to come clean. Tell us everyone you've met with and the nature of those conversations." LEO: "F*ck you." Harry grabs Leo. HARRY: "Show some respect. Or I'll finish the job James did on you in the Double R!"

EXT. DOUBLE R CAFÉ - DAY - LATER

Customers stare out window as Andy and Albert arrive in Sheriff's cruiser.

INT. DOUBLE R CAFÉ - CONTINUOUS

Daniel sits in booth, stares at a menu. An enraptured Heidi stares at Daniel. DANIEL: "I'll have a slice. Of chocolate cake. Hot Tea. ... Oh, I'm Leland's twin. From Rudyard, Montana. Ask Sarah. That's how we all met. Oh, the hair, my side of the family. We all met at a twins convention. How Leland fell in love with Sarah. Genetically the same. But the hair can change overnight." Daniel touches his hair. Heidi starts giggling. Daniel laughs. DANIEL: "Strange, huh?" Heidi covers her mouth, giggling.

EXT. DOUBLE R CAFÉ - CONTINUOUS

Andy looks to Albert, who sneers at Leo's black Trans Am.

EXT. & INT. LEO'S TRANS AM - CONTINUOUS (CGI)

A smashed huckleberry pie on the front windshield of the Trans Am. Two to-go cups of coffee sit on the hood. Albert opens a briefcase forensics kit and dons gloves. Albert opens the car. ALBERT: "Got your gloves, Sheriff?" ANDY: "Yes, Agent Rosenfield." Albert looks around interior. He bags dirt and pine needles on floor, fibers from passenger seat. Andy examines sleeping bag in back seat, and opens its zipper. Andy bags long strand of grey hair. They move to trunk. A roll of Finley's Fine Twine. The electronic collar, covered in oil, wrapped in plastic. ANDY: "What is that, Agent Rosenfield?" ALBERT: "We'll bag it." Andy opens a large bag. Albert's gloved hand approaches the collar. Single STROBE FLASH. FREEZE FRAME.

MONTAGE - FREEZE FRAMES - DAY

Shelly pouring coffee. Heidi slicing pie. Norma on phone. Ed on cell phone. James in cell. Donna at hospital. Audrey there, unconscious. Sylvia in hospital hallway. Ben at One Eyed Jacks. Johnny in straightjacket. Jerry eating caviar. Harry looking at wooden chair. Cooper staring at Leo. BOB (VO): "Coop, what happened to Josie?" Single STROBE FLASH. END FREEZE FRAMES.

INT. SHERIFF'S STATION - INTERROGATION - LATER - DAY

Harry stands behind Leo. Cooper watches Leo's face as Albert places bagged evidence in front of Leo. Bagged Finley's Fine Twine (no reaction from Leo). Bagged collar. Leo takes a half breath. COOPER: "Incriminating evidence, Leonard." LEO: "Never seen that sh*t before. Planted. Someone's trying to frame me. What am I supposed to have done, anyway!" Knock at door. Harry opens door. Garland at door. He sees the collar, and furls his brow. GARLAND: "Agent Cooper, Gordon Cole needs to speak to you." Harry and Cooper exit, following Garland. Albert alone with Leo. ALBERT: "By the recent contusions on your ears, jaw, and neck, along with what looks to be taser-induced burns on your neck, I'd say you were wearing this device recently, Leo-nard. Who put that collar on you? Or do down home folks just like it? Wearing theys' shock collars with theys' overalls?" Albert grins. Hawk enters. ALBERT: "Hawk, watch him like a, well, your namesake." Hawk smiles, nods. Albert exits and walks to:

INT. HARRY'S OFFICE - CONTINUOUS (CGI)

Albert enters Harry's office. Harry turns from his chess board, removing a black pawn and resting it next to a white one. From a laptop, Gordon's image watches Albert shut the door. Sam sits at another laptop. Cooper stands with Garland. ALBERT: "Gordon." GORDON (VO): "Albert, good to see you." Albert notices Gordon's lapel pin: a blue rose. Gordon unceremoniously splays four fingers above his head over his forehead. Cooper gestures for Garland to speak. GARLAND: "Sheriff, Special Agents, Chief Cole: Whereas Project Bluebook took things in, Project Sapphire shines things outward. The light of knowledge. We've decoded, midst those short messages 25 years ago, a framework around those communications." Sam clicks computer. Laptop shows graphic of an amplification modulation wave signal, and the strange blue 'fuzz' surrounding the carrier wave. Below the wave, graphic caption 'THE OWLS ARE NOT WHAT THEY SEEM' 'COOPER COOPER COOPER'. SAM: "Fascinating!" GARLAND: "We have received no new messages other than 'The owls are not what they seem,' and 'Cooper Cooper Cooper.' The Air Force has analyzed the micro-modulation of those signals. From time to time, we think we have picked up these modulations. The thing is, those modulations have spiked, especially in the last four days." ALBERT: "And?" GARLAND: "It may be nothing, the dynamo at the earth's core reflecting radio interferometry. We cannot divine the purpose of these strange and elusive transmissions. But animal subjects have behavior correlation." GORDON (VO): "And humans?" GARLAND: "Indeed-" ALBERT: "Extraterrestrials at the county fair, 3 tickets each." Cooper strokes his trebled name on Sam's laptop. Sam puzzled at Cooper. GORDON (VO): "Major, confine yourself to the real world." GARLAND: "Acknowledged, sir. That collar, covered in oil, is Air Force technology that recently disappeared. We have used them as radio trackers on owls. Someone has constructed a larger one for our wayward arsonist in there." COOPER: "The oil?" GARLAND: "Scorched oil matching the jar of oil provided by Margaret Lanterman." COOPER: "The Black Lodge." Sam looks up to Cooper. SAM: "Windom Earle?" GORDON (VO): "Boys, don't get ahead of yourselves." GARLAND: "Air Force equipment has disappeared twice in the last two years. The collar, a medical scanner, and stealth tech." GORDON (VO): "Still waiting on the specs on that equipment, Major." GARLAND: "Therein lies a conundrum, Chief." Harry touches earpiece. HARRY: "Go ahead, Lucy ... Tell Margaret I will be there. And tell her to move her car."

S3:E5: ACT THREE

INT. UNKNOWN RESIDENCE - ANGLE ON TV SHOWING INT. TELEVISION STUDIO REDRESSED AS RESIDENCE - NIGHT (CGI)

On the flat screen, Bobby, in tailored black suit, red tie, stands in a moderate living room. BOBBY: "Hi, I'm Robert Briggs, executive VP for emerging markets, Horne Industries' Pink Sweat. The completely interactive anything world of tomorrow, today. Make your real world ideal." Holographic overlay: We see a moderate home transformed into INT. MARBLE PALACE. Bobby smiles and gestures to his new environment. As we travel back from the TV in the Unknown Residence, the entire residence and TV are mirrored in a diagonal WIPE. More mirrors, dividing more and more, until everything is tiny bits of mirrors. Traveling into the mirrors, we see a dazzling world of mercurial metallic fractal patterns, with fractal shapes emerging and blending: Owl, Totem Pole, Log, Crow, Douglass fir, Donut, Packard Tower, hawk, Margaret's tattoo peaks, Clock striking twelve, Great Northern Waterfall, Pie, Stoplight, Wren, Owl Ring symbol, Gazebo, Spherical Eye, Eagle, Ceiling fan, Coffee, Myna Bird, Rook (chess piece), Garland's tattoo triad. As images fold and blend through each other, tiny fractal electric arcs jump and dance amid the kaleidoscope. As the fragments of mirrors turn, they begin to reflect stars and space. Midst galaxies midst clusters midst superclusters midst filaments midst the entire visible universe. Melting to an unmirrored normal view of the universe. Another mirrored diagonal WIPE as the entire universe reflects itself.

EXT. SKY ABOVE WOODS - NIGHT

The stars and waning moon. And ghosts of barely visible red slashes of aurora, as fleeting as falling stars. Caption: 'Midnight February 29.'

EXT. WOODS - MARGARET'S CABIN AND WOODS - NIGHT (CGI)

Harry rounds the side of Margaret's cabin, stepping up onto the porch. Margaret stands before a burning barrel. Harry removes his hat. HARRY: "Margaret. Fine night." LOG LADY (simulwards speak): "Remember and Forever." HARRY: "What? What's going on, Margaret?" LOG LADY: "What is going on is now." Margaret pops a wad of pitch gum. In the near woods, the barefoot transubstantial form of Josie in a red silk gown wanders woods, not looking their direction. Harry's eyes widen and his face brightens to astonishment. Josie strides between trees almost as if a woodland dryad. HARRY: "Margaret! Do you see that!?" Margaret stares into fire, chewing pitch, adding wood to barrel. HARRY: "Margaret?" Wispy Josie turns, smiles, beckons to Harry. Harry turns back to Margaret, questioning. Margaret strokes, then taps her log. LOG LADY: "Soon." Harry dons his hat, gives an awkward wave goodbye to Margaret, and moves toward Josie. He gives one last glimpse back to Margaret, who looks strangely distant and uninterested. Josie slips and maneuvers through trees, looking more and more substantial, Harry less and less. Until both are half substantial. Josie faces a large douglas fir. Josie smiles to Harry, and takes his hand. Harry in rapt bewilderment. Josie and Harry step forward and enter and disappear into the bark of the large douglas fir. As we pan back and up from the trunk of the tree, a distant owl hoots in the starry night.

INT. DOUGLAS FIR ROOM (CGI)

Josie and Harry enter. Pete Martell, hat in hand, stands with Margaret Lanterman (no log) in the middle of a huge circular room looking like it was carved out of a mammoth sequoia, lavished with carved furniture. Josie and Harry stare at each other, both in astonishment. They embrace, then kiss. MARGARET: "Thank you for hosting, Pete." PETE: "No problem, Margaret." Pete looks at his hat. PETE: "Now, about my truck..." MARGARET: "Hush, you."

EXT. SHERIFF'S STATION - NIGHT

A Sheriff's Ford F150's front windshield reflects the glass doors of the station, and vice versa, forming windows into forever.

INT. SHERIFF'S STATION - RECEPTION - NIGHT

Cooper looks tired. Cappy sits in reception, doing a crossword. COOPER: "Hawk, I can't drop everything every time Sarah Palmer screams or dreams." HAWK: "I'll look in to it." COOPER: "Sheriff, I am going to visit the hospital. I am then going to the Great Northern. I need sleep." HAWK: "Yes, Cooper. Before you leave, Cooper, Catherine Martell will not open the road to your property, but has offered to purchase it. The property is lakefront. There is a way in, through the waterway. Public waters." COOPER: "No one is to enter that property." CAPPY: "Bouillabaisse! Mixed up seafood!" Cappy writes the answer on the crossword puzzle. Cappy looks up to Cooper and Hawk's questioning looks. Cooper stares out front doors of station.

EXT. SHERIFF'S STATION AND NORTHERN AVENUE AND GREAT NORTHERN - NIGHT (CGI)

Traveling by the Sheriff's station, and up Northern avenue, Pete's transubstantial old truck speeds up hill to Great Northern, tailgate open, no tires, no windshields, no driver, no sound. The illusionary pickup passes through the cordoning reflective Sheriff's tape. A cardboard box in the bed opens, releasing a dozen industrial saw blades, which tumble out, hit the road in a shower of sparks, whizzing down the hill into town in a vortex of sparks. Blades disappear. Truck disappears.

INT. GREAT NORTHERN - CHECK IN DESK - NIGHT (CGI)

We see Daniel from behind, who issues two girls forward. DANIEL: "These are my grand nieces, Aurora and Lela." The concierge, Julie, looks shocked. We see the nieces, both looking like Laura, except Aurora has strawberry blond curls and Lela flat black hair, both looking age 17. Jerry walks by, snacking on caviar, crackers, minced onion. He half chokes, discards plate and heads to Ben's office. JULIE: "Adjoining rooms, third floor." Lela grabs two sets of key cards. LELA: "When will grandma get here?" DANIEL: "Well, sweetie, its after midnight, so that makes one day." AURORA: "Will we be able to see Aunt Sarah, Uncle Dan?" DANIEL: "That's up to Sarah. You can call her after we visit Uncle Leland's grave tomorrow morning."

EXT. TWIN PEAKS SKY & EASTER PARK - ABOVE GAZEBO - NIGHT

Tilting up from the Gazebo far below, we see Calhoun Memorial Hospital in the far distance. Uncoiled green and red aurora churn like writhing snakes.

INT. CALHOUN MEMORIAL HOSPITAL - ICU - AUDREY'S ROOM & HALL - NIGHT

In the hall, outside room, Donna stares at Sylvia, both with their arms crossed. Inside Audrey's room, Audrey lies unconscious. She looks oddly placid. Doc Hayward looks over a medical readout tablet. DOC HAYWARD: "She's stabilized." COOPER: "Can she speak, Doctor?" DOC HAYWARD: "I don't think so, she's sedated. I'm not the attending physician on this one. According to this, she's being flown to Seattle." Other medical personnel move in, one taking Doc Hayward's tablet. Cooper and Doc Hayward move to hall. Donna immediately hugs Doc Hayward. Donna's eyes well up. Cooper sternly observes Donna. COOPER: "Miss Hayward, what were you, James, and Audrey doing at the Owl Cave, and where are the documents you exchanged?" DONNA: "James has them." COOPER: "Good, because he is currently under arrest." Donna looks alarmed. COOPER: "How long have you been in love with James, Donna?" Donna shocked. She turns away. DONNA: "He's married to Shelly." SYLVIA: "I can't stay. Johnny's being moved to the Asylum." DONNA: "You can't do that! Audrey would stop you. You waited until she...she..." Donna weeps as Doc Hayward holds her in deep embrace. Doc Hayward scowls at Sylvia. SYLVIA: "Audrey doesn't have a say. It is up to me and Ben." Sylvia throws an ermine stole around her shoulders and exits down hallway. Cooper regards Sylvia, then turns to the door of Audrey's room, then to Will. COOPER: "Doctor William Hayward, we have business to attend to." Will pats Donna shoulder, removes a tear, and gives her a final hug. Cooper and Doc Hayward exit toward elevator. As they wait there, Cooper looks down corridor to Donna. Donna tries the door to Audrey's room: locked. Donna hangs her head, then surreptitiously looks around. Cooper looks questioningly at Donna. Elevator opens.

INT. MORGUE - LAURA'S LOCKER - MOMENTS LATER - NIGHT (CGI)

Albert, Cooper, and Will stand around Laura's sealed morgue cooler. The label on the cooler 'PALMER, LAURA' 'Restricted' 'Evidence' 'FBI'. DOC HAYWARD: "Albert, Cooper, as you know, I delivered Laura. I flew out immediately to Missoula, Montana. I delivered Madeline the next day." COOPER: "Twins. How long have you been keeping this strange secret?" DOC HAYWARD: "You see, Agent Cooper, Daniel is Leland's twin. Sarah has a twin also, Beth. That's how Leland and Sarah met, at one of those get-together studies. That hair, Leland's changing color, Leland and Daniel, Laura and Maddy with different colored hair too. On Leland's side, but some recessive gene in Sarah, I don't know. Sarah was pregnant with multiple embryos. We implanted one embryo in Beth. Leland couldn't have known." Cooper rests a hand on the cold grey steel of Laura's locker. As we slowly move toward Cooper's hand and then into the steel of the locker's door, we do not emerge into the Locker's interior, but rather, into:

INT. BLACK LODGE (CGI)

The red curtained room is not square, but long, the dimensions of a coffin, enlarged to the chevronned room. The Man From Another Place's face is grinning. MAN FROM ANOTHER PLACE (backwards speak): "Vierfachganger! Vierfachganger! Vierfachganger!" Caption: 'Quadrupleganger!' His left eyeball moves wildly. As he begins to dance, we see his left arm is on his left shoulder blade, pointing backwards, his right leg is twisted 180 degrees. His dance strange, his body twisted, his eye erratic. OVERLAP SHOT to:

EXT. WOODS - STOCK & NEW FOOTAGE - NIGHT (CGI)

Leo collapses backwards, his head, neck and shoulders a split open gory atrocity. Bob tears out of sack's plasticity. Coated in blood, garmonbozia, amniotic grime, a young bob emerges. YOUNG BOB: "Hi, Laura, I'm Robby, I'm seventeen too. Let's get together, Laura!"

EXT. SKY ABOVE PALMER HOUSE - NIGHT (CGI)

A single strand of red aurora curlicues toward the house.

INT. PALMER HOUSE - LIVING ROOM - NIGHT (CGI)

We hear a cuckoo clock going off. We see a flat screen showing EXT. TWIN PEAKS - WOODS - NIGHT. Caption on screen: 'PINK SWEAT.' The television is smashed by an aluminum baseball bat. Sarah, breathing hard, wields the bat. She massages her temple. LEO (backwards speak, VO) :"Okay, bitch! It's your turn!" Sarah immediately moves to the chiming cuckoo clock, sounding 3 a.m. Sarah smashes the clock off the wall. Sarah plops into a nearby easy chair. Sarah rubs her temple. The shattered clock gives one more failing 'cuckoo' and fizzles to silence. A shard of the clock has landed on Sarah's tea table, which she brushes aside. Sarah looks into scotch glass. She sips. Sets it down next to a picture of Laura and Maddy, age 7. Blond pigtails and brunette ponytails. Sarah holds the frame to her heart. Sarah kneads her temple. SARAH: "Beth..."


	6. This Cherry Pie is a Miracle

(Third Edit: September 2, 2018)

TWIN PEAKS: EPISODE 6: "THIS CHERRY PIE IS A MIRACLE"

S3:E6: TEASER

INT. DOUBLE R CAFÉ - THE PAST - STOCK FOOTAGE - DAY

Gordon stands at counter, next to Log Lady, talking to Shelly. 1991 GORDON: "Good Lord, I can hear you perfectly! This is some kind of miracle! A phenomenon." 1991 LOG LADY: "What's wrong with miracles?" 1991 GORDON: "What's that? 1991 LOG LADY: "This cherry pie is a miracle." SUNBURST FLASH.

INT. TWIN PEAKS ASYLUM - NADINE'S ROOM - PRESENT DAY - DAWN (CGI)

Nadine stares out a barred open window, bathed in amber morning sunlight, smiling warmly. A breeze tousles her red tangles, the breeze rippling the window's tangerine curtains. Nadine's sparkling chestnut eyes. Closer to reflection in Nadine's healed eye: the window panes midst red tangles and tangerine ripples midst amber sunrise past douglas firs, the far off Packard Tower, half gold half black. And the reflection in the window panes of Nadine's smiling, glowing visage.

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - DAWN

Sprinkling rain falls from dissipating amber storm clouds glimmering with far off lightning. Daniel, Lela, Aurora in disposable plastic rain ponchos, stand before Leland's grave, next to Laura's open grave, roped off by reflective Sheriff's tape. AURORA: "Are all the Sheriffs everywhere because of what they did to cousin Laura?" DANIEL: "You know, sweetie, I suppose so. I suppose so." LELA: "Why does it stink so much?" DANIEL: "Well, you know, I don't know. Its almost spring, maybe the snows melting and that's all the dog sh*t in this town melting." AURORA: "But Uncle Dan, I haven't seen any dogs ... anywhere." DANIEL: "That's probably because they're afraid of those famous owls Lee used to write about." LELA: "Can we get a picture?" DANIEL: "Oh no, that wouldn't be proper in a graveyard, I don't think." LELA: "No, Unc, of those stupid owls, silly." Lela snickers. DANIEL: "Well, girls, you know, that'd be fun." Lela sees Robby, crouching, out of the corner of her eye. Lela turns. He's gone. Lela holds onto Daniel. DANIEL: "There, there, sweetie. There's nothing to be afraid of in a graveyard." ELECTRICAL FLASH.

INT. SHERIFF'S STATION - INTERROGATION - THE PAST - STOCK FOOTAGE - NIGHT

Harry stands by James, who sits at interrogation table. 1991 JAMES: "Would you like to play with fire, little boy? Would you like to play with Bob? ... (pointed) Would you like to play with Bob?" ELECTRICAL FLASH.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E6: ACT ONE

EXT. GREAT NORTHERN AND WATERFALL - DAWN - ESTABLISHING

The golds and ambers of the sunrise glint and play in the cascade. Closer to ripples at the falls' summit, the reflection of the nearby Great Northern Hotel & Resort and docks, warbled in blushes and sparkles.

INT. GREAT NORTHERN - COOPER'S ROOM - DAWN (CGI)

Garland stands near door, his trench coat neatly folded over his arm. He observes his watch. Cooper adds several folders and his tablet to his briefcase. Cooper removes a large black plastic bag labeled 'FBI protocol 121314.' He unseals it and stares inside. He smiles big. He seals the bag without removing its contents. Cooper takes the Great Northern key from his pocket, and walks to Garland. COOPER: "Major Briggs, this is the key, returned to me by Benjamin Horne as a memento, the same night Catherine Martell was arrested." Cooper holds out the key and green key fob. COOPER: "They use key cards now. Electromagnetic keys! Fascinating! The Bureau is in possession of all other items. This key has been to the Black Lodge." Cooper drops the key in Garland's hand. GARLAND: "Our perspectives prompt the rational mind to examine the world on the edge of our own world..." Garland tosses the key in the air, it hovers as if in zero gravity. Giant appears. Garland frozen. COOPER: "I am not dreaming." STROBE FLASH.

INT. WHITE LODGE (CGI)

In a verdant forest, four vine encrusted thrones sit facing each other. In the thrones: Giant, Cooper, Margaret (no log), Garland. GIANT: "Four follows three follows four." Giant stands, and offers his seat. The three stare. COOPER: "The One Legged Woman." GARLAND: "The One Legged Woman." MARGARET: "The One Legged Woman." SUNBURST FLASH.

BACK TO COOPER'S ROOM

No Giant. The key drops into Cooper's hand. GARLAND: "...the world of The White Lodge." Cooper hands the key back to Garland. COOPER: "Test the key, Major. Let me know." GARLAND: "You know, Agent Cooper, we had my flight suit tested, the one I was wearing when I returned from the White Lodge all those years ago. I will test the key, but-" COOPER: "The One Legged Woman. Audrey Horne was shot in the leg." GARLAND: "Coincidence, conjunction, or conjecture, Cooper?" COOPER: "I do not know, Major. Perhaps you can help. Before I was freed from the Black Lodge, the Giant said, 'Twelve you must save, one is in the woods, two in the owls, six you must uncover, and three you have already saved.' Twelve." Garland ponders. COOPER: "I now believe the three are Audrey Horne, Donna Hayward, and Shelly Hurley. They were spared from the psychopathic plans of Windom Earle. The one in the woods must be Josie, my vision. But the two in the owls ... I am stumped, I am left with Laura and Maddie, perhaps? But what happened to Annie?" GARLAND: "Have you gone to see her?" Cooper frowns. COOPER: "Yes, Major." GARLAND: "And did she provide any insights?" COOPER: "No, Major. But I know our visions in the Double R were not in the right place. Even then, I longed for another vision, one of Annie. Is that odd?" GARLAND: "Perhaps. She has been to the Black Lodge." Cooper moves to window, breathes in, closes and locks window. Electronic sound from security window detector. COOPER: "I felt that I was in the wrong vision somehow. Major, I have a feeling Annie died and I did not see it coming." GARLAND: "Agent Cooper, I believe we were all in the right place. Hawk's vision of Laura's remains. My vision of Eileen's attack. Your vision of Josie." Cooper applies his FBI lapel pin. COOPER: "Major, I must admit, I am using the deepest part of my intuition just to voice this." GARLAND: "Contrary to popular belief, 'intuition' blends our entire being, bringing disparate elements into focus: the mind, the body, the soul, the senses, the periphery, memory, premonition and what I would describe as 'postmonition'." COOPER: "Let me ask you something, Major." GARLAND: "Yes?" COOPER: "Why doesn't the White Lodge just illuminate our minds and thereby stop Bob, the Black Lodge, and its burning reach?" GARLAND: "Cooper, you are asking the same question as: 'Why does God permit evil to exist, ever?'" COOPER: "To test us. Hawk said long ago that every soul must pass through the Black Lodge on its way to perfection." GARLAND: "Indeed." STROBE FLASH.

INT. BLACK LODGE (CGI)

Doppelganger-Laura sits next to Doppelganger-Man From Another Place, across from Cooper. LAURA (normal speak): "Meanwhile." She poses her hands. ELECTRICAL FLASH.

BACK TO COOPER'S ROOM

Cooper hangs his head. COOPER: "I do not feel 'perfected'." Garland regards Cooper's left hand. GARLAND: "I'm curious, Agent Cooper, why didn't they impound your ring?" COOPER: "Albert's never mentioned it." GARLAND: "May I have it, also?" COOPER: "No." GARLAND: "You see, Agent Cooper, your ring has been in the White Lodge longer than you have." Cooper regards his ring. COOPER: "This is not my ring." He turns to Garland. STROBE FLASH.

INT. HARRY'S OFFICE - THE PAST - DAY

Cooper's old possessions: Diane recorder, badge, gun, magnifying glass, clothing, holster, tie tack, lapel pin, walkie talkie, but not Great Northern key, are bagged as evidence. Nor his ring. He regards the ring on his left pinky finger. STROBE FLASH.

BACK TO COOPER'S ROOM

Cooper looks around. GARLAND: "Was it replaced in the Lodge, perhaps? Possibly..." COOPER: "Something's happening, Major. Many things are happening. New things happening right now." STROBE FLASH.

INT. HARRY'S OFFICE - THE PAST - DAY

Albert hands Cooper pages of Laura's diary, each bagged separately. ALBERT: "How about something down to earth." As Cooper reads, Laura's voice over FADES: LAURA (VO): "So when you read this, you'll know, C. My fun secrets..." COOPER (VO): "Leland Palmer's handwriting. He wrote this as a primer. He was decoding her diary for names. Why is Annie the only one spelled out?" STROBE FLASH.

BACK TO COOPER'S ROOM

Garland looks around, trying to ascertain Cooper's thousand yard stare. GARLAND: "What is happening?" Cooper rubs his stomach. ELECTRICAL FLASH.

INT. GREAT NORTHERN - ROOM 315 - THE PAST - STOCK AND NEW FOOTAGE - NIGHT (CGI)

1991 Cooper shot three times, prone, bleeding. Twice in his flack jacket, once where his vest has ridden up. We travel into the bullet wound into a gory fractalization of the wound. We see the bullet slug, and the wood tick the slug had smashed. The slug rotates then transforms into jade owl ring. Around the ring flow jade green fractal garmonbozia. STROBE FLASH.

BACK TO COOPER'S ROOM

Cooper regards his left pinky ring, as he withdraws his hand from his stomach. Cooper turns to his 'Josie' night stand. COOPER: "Major, I'm not sure. But it is happening again, right..." STROBE FLASH.

INT. GREAT NORTHERN - ROOM 315 - NIGHT (CGI)

The knob on Cooper's night stand bursts into flames, then into light, then normal wood. STROBE FLASH.

BACK TO COOPER'S ROOM

Cooper turns back to Garland. COOPER: "...now." STROBE FLASH.

EXT. PACKARD MILL TOWER & FULL MOON - NIGHT (CGI)

Ronette, nude under layers of plastic, stands at the summit of the Packard Tower. She jumps like a bird taking flight. SLOW MOTION. Her descent, with arms bent back, forms plastic trails with moonlit shines back twenty feet. As she falls out of view, the entire tower is grabbed by an enormous hand. WINDOM (VO) "King's rook to Queen's Knight Eight!" ELECTRICAL FLASH.

BACK TO COOPER'S ROOM

Cooper blinks, mystified. Garland's consternated observation of Cooper changes to a smile. GARLAND: "I will bid you good morning, Agent Cooper. You seem, to me, to be lost in thought."

EXT. GREAT NORTHERN - WINDOW OF ROOM 315 - DAWN

The morning amber sun radiates in reflection through the tall douglas fir outside Cooper's room.

EXT. PALMER HOUSE - FRONT DOOR - LATER - MORNING

Lana moves so as to not be blinded by the early morning sun's reflection off of the Palmer front door's windows. Lana regards several sparrows in the bushes next to Sarah's flower bed of sprouting budding tulips. She lifts her cell phone. LANA: "Sarah, it's Lana ... I have the temporary restraining order against Daniel Palmer. ... Yes, I'm alone." The door opens to a beleaguered Sarah Palmer, whose eyes dart around the neighborhood. SARAH: "Lana." Sarah motions Lana into:

INT. PALMER HOUSE - LIVING ROOM - MORNING (CGI)

Sarah locks door. Lana sits, opens briefcase, and shuffles papers. LANA: "Now this is only temporary. Since you didn't pursue any changes-charges." As Lana hands Sarah the document, she sees the broken TV and cuckoo clock, and stands, alarmed. LANA: "My God, Sarah, what happened!?" Sarah adjusts her hair and smiles. SARAH: "Oh that. I had too many olives." Lana realizes. LANA: "Sarah you should never drink. What if the doctors found out." SARAH: "Leland was getting to me, so I smashed things that reminded me of him. And what Daniel did to Beth. The TV was on something terrible, and that clock-" Sarah chuckles. SARAH: "I just don't like that bird-in-a-box. But I hate that fan." They both stare up to the motionless ceiling fan with a broken, hanging blade. SARAH: "Hmpf!" The fan starts up, speeds up, shoots electric sparks and snaps of electricity, and bursts into flames. LANA: "Jesus!" The wiring inside the ceiling wall from the fan down to the control box erupts in electrical fire. Snaps and sparks. Sarah screams. Lana presses cell phone emergency. Sarah springs to the kitchen. Lana stunned. CAPPY (VO): "Sheriff's Department." LANA: "Sarah! Cappy!? Cappy, we have a fire at the Palmer house! ... My God, Sarah, no!"

S3:E6: ACT TWO

EXT. PALMER HOUSE - LATER - MORNING

Joey, in fireman uniform, stands with Sarah on lawn. JOEY: "It's okay to reenter the house. Sarah, I want you to listen to me. I want you to have the electricity of the entire house checked. And I'm worried about that smell. It smells like burnt oil. It may be old paint. Or it might be that fire extinguisher you used. You should have let Lana do that." Sarah nods, looking down. JOEY: "Sarah, there are several fire and flood damage repair shops that can do the clean up. But Sarah, look at me..." Sarah stares up to Joey's eyes. JOEY: "Don't smash anything that's plugged in, okay?" Sarah looks in the door tentatively. SARAH: "Okay." Sarah offers her hands, Joey shows his dirty hands, she grabs them anyway. SARAH: "You're a good boy, Joseph." He smiles. She looks into the house again. SARAH: "How are things with Donna?" Joey hangs his head. JOEY: "We're not together anymore." SARAH: "That's too bad. She came by the day of the town hall. She looked at _that fan_." JOEY: "I didn't see her at the town hall." SARAH: "No, no, no. When I got home, she was waiting for me, bless her heart."

EXT. SHERIFF'S STATION - FRONT STEPS - DAY

Drizzle. Albert examines his watch. An FBI briefcase rests against his shin. Harry pulls up the collar of his Sheriff's jacket. ALBERT: "Cooper thinks that page of her diary is fake, transcribed by Leland Palmer." HARRY: Which one of you fellas is the hand writing expert?" Albert frowns. ALBERT: "Cooper." HARRY: "There you go, Albert. Trust him. If not, I'm sure you boys have plenty of other experts." ALBERT: "That's not what's bothering me." Albert shakes rain drizzle from his trench coat, annoyed. HARRY: "Lived here all my life, Albert. You never really get used to the rain." Albert nods. Harry rubs his forehead, looking a little nauseous. HARRY: "Why would Leland write this 'primer' in her diary?" ALBERT: "To discover Laura's secrets. But its nothing compared to the Black Lodge page. A real page turner." Harry has a strained chuckle. ALBERT: "Makes me want to retire here, nestled in between the insanity, the white picket fences, some worse insanity." Harry chuckles. HARRY: "You're worried about Coop." ALBERT: "Harry, you don't look so well." HARRY: "I'm not myself today."

EXT. TWIN PEAKS STREETS - DAY

A black 2012 Audi Q5 SUV with FBI logo drives down the long and twisting douglas fir surrounded street, wet here and there with rain water. As the SUV disappears into the trees behind the curves of the road, we stop on a street sign 'Riverside Boulevard & Orchard Way'.

INT. COOPER'S SUV - DRIVING - MORNING (CGI)

On the dash of the Audi, four dashboard cameras: pointing out, to Cooper, left and right. In the center console, three dark video screens. Cooper looks concerned. COOPER: "Diane, how I wish I could see you again. I do not like the way I must communicate to you now. These 'filters' border on the absurd. Diane, its Monday, February 29, 2016. Leap day." Top monitor clicks on with caption '29 FEB 2016' 'recording...' COOPER: "Diane, while I appreciate and laud the Bureau's use of technology, especially in the area of efficiency ..." Cooper rolls down window, breathes in. COOPER: "You know, Diane, I feel great. Tip top. I would venture to say perhaps even euphoric. I had my first dream. Not just a dream, and wholly not a dream, but a strange threading needle with which I will save lives, including Laura. Laura, how I wish I could see you again. I do not like the way I must communicate to you now. These 'filters' border on..." Cooper rolls up his window and passenger window down simultaneously. COOPER: "Diane, Albert is joining us." Cooper's Q5 SUV pulls up to Sheriff's Station.

EXT. SHERIFF'S STATION - CONTINUOUS

The Q5 SUV stops. Albert approaches passenger side. Harry tips his hat to Cooper.

INT. COOPER'S SUV - CONTINUOUS

Cooper waves to Harry as Albert gets in. ALBERT: "Morning, Coop. Laura Palmer will be reinterred at sunset, per agreement with the Palmer family." Albert shuts door. ALBERT: "Half the town will be there this time, Coop. We're all in place." Albert flicks rain from briefcase lid in a swat. Albert opens briefcase and removes tablet. Cooper pulls out into traffic. COOPER: "Aces, Albert! Diane, Albert Rosenfield has joined us." ALBERT: "Diane. Here's an interesting footnote: I think you remember 'Seྃor Droolcup,' Coop?" COOPER: "The Waiter." Albert regards his tablet. ALBERT: "Bingo. Well the senior Seྃor is a centenarian, in fact a hundred and three. If that weren't enough, he'll be there tonight, released on furlough from ... room zero-three-one, basement level, Twin Peaks Asylum for the 'gifted'." Albert smiles. ALBERT: "Cooper, promise me. If I'm ever that 'gifted,' do me the honor and blow my brains out." COOPER: "I would never consider it. Albert, the difference between insanity and the unknown is the difference between destructiveness and discoveries." ALBERT: "Huh?" COOPER: "We are not facing insane criminals, like Leland Palmer, we are facing multiple manifestations of malevolence, as panic hits the streets of Twin Peaks, and pure insatiable madness runs blazing rampant everywhere, all at once in the biggest Fourth of July Spectacular ever seen anywhere: Brought to you by Horne Industries 'We're everywhere!' By Martellcorps 'All shops closed on the Fourth.' Other major sponsors: Big Ed's Gas Farm, the Double R Café, mmm-mmm, Gentleman Jim's, Twin Peaks Town Council, the Twin Peaks Highschool Rotary Club and the Laura Palmer Foundation. End commercial, Albert. It was on the television. It was the strangest thing, Albert." ALBERT: "Enough of this happy horse sh*t, the DEA is arriving, according to them, 'sooner, rather than later,' so please, Dale, what, if any, shred of the slimmest molecule of proof of these ne'er-do-well drugs-" COOPER: "Never-before-seen hallucinogenic narcotics." ALBERT: "Yeah, those?" COOPER: "When the DEA arrives, I will have two suspects, in hand, who may enlighten us all. Albert, the owls are not what they seem, nocturnal, I will remind you these crimes occurred at night. Nadine mimicked an owl's savagery. Laura's presence has tangibly returned. It's a Code, Albert." Albert nods. COOPER: "It has to do with twelves and thirteens." ALBERT: "Protocol 12 13 14?" COOPER : "No, Albert, a different twelve and a different thirteen. I thought assembling 12 people at the Log Lady's instruction was odd, but yielded some results." ALBERT: "Yeah, your vomit." Cooper put off, then smiles. COOPER: "Yes Albert. A side effect of the bi-location of astral travel, or vision. Albert, I have seen or dreamt visions of Annie dying, my own evil twin, and you, Albert, in the Black Lodge." ALBERT: "Fun place?" COOPER: "No, Albert. Time flowing backward in reverse is not time flowing forward. If ever you are in the Black Lodge, forever are you in the Black Lodge. Major Briggs said 'Quantum investigation insists on the postulate that all realities _are_ realities.' And yet, I have a feeling that Windom Earle's next chess move will demonstrate that this multiversal membrane or 'brane' of all universes and possibilities can be manipulated for evil. They live for and feed on everyone's fear. There is fear in this town." ALBERT: "I'm afraid." COOPER: "Yes, Albert?" ALBERT: "Coop, I'm afraid I'm going to have to ask for your Badge. You're off the case for 24 hours while you calm down. And you are not, repeat not, to make an appearance at the Palmer internment, talking like this. Or Blue Rose be damned, (whispers) you will be locked up, by us." COOPER: "Albert, it would be nice to have the day off." Albert and Cooper look at each other for several beats, blank faced. ALBERT: "You got that, Diane?" Albert and Cooper look down at the SUV's video screen and its caption: 'Code 121314.' Cooper smiles broad, and offers out a hand. Albert grimaces, and relents in a hand shake. Q5 stops in front of Calhoun Memorial Hospital. Albert exits and leans in window. ALBERT: "Good luck out there, Coop." COOPER: "Thank you, Albert. And let me know what you find." Albert nods, exits. Passenger window rolls up. As Cooper pulls out: COOPER: "Diane, each and every time I speak to you, I am filled with the most peculiar optimism. But if I may pull the shades aside..."

EXT. CALHOUN MEMORIAL AND TWIN PEAKS STREETS - DAY

The Q5 pulls out and heads deeper into town. Leaving the tiny SUV, the streets and curves and trees of wet Twin Peaks. Through many streets, we pass the Sheriff's Station far below, and follow up the police taped off Northern Avenue to the hill's summit and the mighty Great Northern.

EXT. GREAT NORTHERN AND BLACK LAKE - DAY

The docks with boats moored to them slightly quake with small gusts and sprinkles of rain, turning the lake's surface muddled under darkening storm clouds.

INT. GREAT NORTHERN - BEN'S SECRET OFFICE - DAY (CGI)

Half empty bottles of Jack, some tipped, several warm drinks. Jerry snores, passed out, on a settee. Ben blinks sleepy eyes. He closes them. FLASHBACK - BEN'S OFFICE - THE PAST. Ben sits, unshaven, disheveled. Hank Jennings stands at Ben's desk. 1991 BEN: "What do you think of the furniture in this room? Is it adequately arranged? I have been toying with the notion, that if one could find the perfect arrangement of all objects in any particular space, it could create a resonance, the benefits from which to the individual dwelling in that space could be, uh, extensive, far reaching, far reaching." END FLASHBACK. One video screen on. The screen above Ben shows box-frame depictions of: Great Northern, panning out, to Great Northern and waterfall, lake, boats, hill down from Great Northern, wider to large section of Twin Peaks. Various sections blended with Google Earth view, and shaky cell phone angles, and security cameras at Horne's Department Store. Cell phone snapshot pictures blended like still paintings in the strange patchwork moving tableau. Scene pulls out and above Twin peaks showing a hundred digital camera angles, tiny digital information on multiple locations. Box frame location: 'Sheriff's Department'. Near it, a police channel log prints: 'DISPATCHER: _Sheriff's Department._ CALLER: _Sarah! Cappy!? Cappy, we have a fire at the Palmer house!'_ Elsewhere on screen: Box frame location: 'Calhoun Memorial Hospital'. Click. Screen dark.

INT. CALHOUN MEMORIAL HOSPITAL - LEO'S ROOM - THE PAST - STOCK AND NEW FOOTAGE (CGI)

1991 Leo in coma, intubated, and Leo's reflection in large round medical mirror. We travel into the mirror as if a pool of mercury and emerge in ripples seeing Current Bob sleeping where Leo was. More ripples. Leo returns. BOB (VO, backwards speak): "Undreamt-of. Nevermore. Memory. Forever."

INT. BLACK LODGE (CGI)

Doppelganger Leo wakes up. Around huge circular jade green formica table stand doppelgangers: Leo, Evil Dale, Man From Another Place, Laura, Windom Earle, Caroline Earle, Ronette, The One Armed Man, Chester Desmond, Phillip Jeffries, Mrs. Tremond, Tremond's Grandson. They all blankly stare down to the immense owl ring symbol, a square with wings of half squares, made of powdered white ash. Mrs. Tremond, through her opaquely cataract eyes, is the only doppelganger to have expression. Tremond stares back and forth. All doppelgangers crawl onto the formica table with the owl ring symbol dust, disturbing its structure in clouds of choking dust. The doppelgangers scamper around the tabletop, and are occluded more and more by the dust storm, until all are hidden in its blinding depths. Below the giant table, the chevronned floor duplicates under falling ash. The chevrons flow into each other from all four directions, causing the entire floor to have an illusionary chessboard of intersecting and fleeting black and white. Within the framework of its optical turbulence, the passing ghosts of chess pieces, composed of moving fractals of intertwining transubstantial squares and chevrons.

EXT. DOUBLE R CAFÉ - DAY (CGI)

Diaphanously redtoned as if within one neon R, staring out at the other ultra-close neon R, and down to the front entrance of the café. We are just behind the glass of the neon tube, wisps of electrified neon pass. The constant strum of its excited electrical state. Strum. Strummity strum strum. Strum.

INT. DOUBLE R CAFÉ - DAY

A bus tub full of dirty dishes is slammed down hard against the customer bar. It crashes and churns up a half gallon of uneaten food and vomited even creamier creamed corn. Donna looks up, horrified, to Shelly and Norma. Heidi giggles. HEIDI: "Lady throw up!? Shame on her eating all that canned creamed corn instead of eating fresh Double R world famous food and pies and coffee. She sick, all of them Meals with Wheels, weird people weird diet, hospital people, living everywhere, them sick among us." Heidi holds apron over face. Norma, Shelly, and Donna are shocked at Heidi's ignorance. Heidi snaps on gloves, ties her apron over her face around her head, and grabs the creamed corn laden slop. HEIDI: "Coming through! Health hazzard!"

DONNA'S FLASHBACK: INT. TREMOND APARTMENT - THE PAST - STOCK AND NEW FOOTAGE - DAY

Mrs. Tremond lay in her bed. Donna in chair, stares at a plate. 1991 MRS. TREMOND: "Do you see creamed corn on that plate?" Donna is shocked there is none. Then she looks to Tremond Grandson, who holds the slimy creamed corn gunk, cupped in his hands. 1991 MRS. TREMOND: "My grandson is a magician!" Magician throws the creamed corn at Donna.

BACK TO DOUBLE R CAFÉ

Donna startles out of her remembrance.

EXT. SHERIFF'S STATION - FRONT STEPS - LATER - DAY

Door chimes and Donna enters station.

INT. SHERIFF'S STATION - RECEPTION - DAY

Cappy already has a clipboard held out for Donna to sign, which she eagerly grabs, looking to clipboard. DONNA: "Hey Cap'n." CAPPY: "Not at work." DONNA: "Sorry, Cappy." CAPPY: "You know the rules." BOBBY (OS): "Yeah, Hayward." Donna startles and turns to see Bobby, leaning against wall, near entry of stairs down to Cellblock. Donna's expression changes to half smile half query. DONNA: "Why are you on the day shift?" Bobby shrugs dumb. BOBBY: "Days, nights, who knows anymore. Right, Cappy?" CAPPY: "You got it boss." Donna turns and realizes Cappy is also working day shift. She furls her brow. Bobby whistles. BOBBY: "Yo, Prima donna, let's move. I ain't got all day, and I ain't got all night."

INT. SHERIFF'S STATION - JAMES' CELL - MOMENTS LATER

Donna stands a foot away from the bars James clings to. She looks slightly sickened. Leo in far cell, facing away, rocking on bottom bunk, making it screech against the floor. Bobby stands outside closed door out of earshot. DONNA (whispers throughout): "James, the police have the page from Laura's diary." Screech. JAMES (whispers throughout): "I got the letter." DONNA: "Where did you hide it?" JAMES: "Not here. Make them get me out of here." DONNA: "How?" James smiles big, almost deviously. James moves to Donna's ear. JAMES (even lower): "Tell Cooper I'll show him the letter, and we'll lead him on a wild goose chase, and then I'll give him the letter, but we have to tell him everything, not just this letter. You got to get us alone with Cooper. Just kiss me if you agree." Donna looks shocked then her eyes light up. She kisses him. Screech. Bobby bursts through door. BOBBY: "Okay, I said no touching. No exceptions." They end their kiss. BOBBY: "You have to go, Donna." Bobby grabs Donna's left arm and escorts her begrudgingly backwards. Donna holds her left arm. DONNA: "James, I felt it again at the Double R ... James." Donna turns on Bobby. DONNA: "Yes, Officer Briggs, I have to see Agent Cooper, anyway!" BOBBY: "Bye-bye, Donna." Donna exits and Bobby closes cellblock door behind her. He stares out the small reinforced glass window. BOBBY (to window, low): "Donna, Donna, my donna, Madonna. He's not on duty today, Donna. Oh Donna, come back." Bobby turns and loses his smile for a glare as he walks by James, racking the bars with his billy club. BOBBY: "I'll say 'hi' to your wife, Shelly, for you James." JAMES: "Listen, Bobby-" BOBBY: "Bobby's busy right now, thanks for remaining calm, prisoner." Bobby walks to Leo. BOBBY: "Leo F*cking Johnson! Damn, boy, you sitting in a world-o-hurt! Sittin'in'it. Like when you used to wear that diaper!" LEO: "Bob be nimble and Bob be quick, Bob jump over the magic trick." Bobby laughs. BOBBY: "Leo F*cking Johnson. How many kinds of crazy are you, nowadays? Enjoy an even longer time in prison, *ssh*le." Bobby whistles, and strolls toward door, back past James. Bobby abruptly stops at door. BOBBY: "You know, according to my calculation, we're all here, this is the first time the three husbands of that gorgeous! Heaven-sent! LEO: "Hell-bent." BOBBY: "F*ck you, Leo, go slobber, brain victim ... That gorgeous, heaven-sent, firecracker, Shelly Johnson Briggs Hurley, are in one place, f*ck! Both you *ssh*les in prison together! That's just f*cking nice. I'm the night officer. I just stopped by early to introduce myself. Got all sorts of things I got to do! Sweet dreams, boys." Bobby exits. Door slams.

INT. SHERIFF'S STATION - RECEPTION - DAY

Donna walks by and exits station as Cappy opens the manilla envelope from Judy. He reads through the stack of documents. CAPPY: "Okay... Okay, what?" He regards the envelope with no return address. CAPPY: "That's weird." Harry enters reception. HARRY: "Cappy, how's Hawk doing?" CAPPY: "They found a PT Cruiser, submerged near the lake, probably the Hunchback's, no body, but Sheriff, look at this stuff. Whoa." Cappy hands the folder labeled 'Ferguson, Madeleine' to Harry. Cappy touches his earpiece. CAPPY: "VIN search, copy Hawk."

INT. SHERIFF'S STATION - HAWK'S OFFICE - DAY

Near a carved desktop nameplate reading: 'Deputy Chief Sheriff Thomas Hill,' an open letter on Hawk's desk: Beneath a signature at the end of letter: 'Dr. Diane Shappiro Hill, Ph.D. Neuropathy, Brandeis, 1988, Ph.D. Criminology, University of Manchester, 1990.'

EXT. WOODS - ON BLACK LAKE - DAY

Hawk stands, arms crossed, observing Big Ed's 'TowTownNow' tow truck pulling a 2014 maroon PT Cruiser from the lake, tow-lining it to stable ground. Hawk opens the door to the SUV's cargo hold. Water mud and moss pour down. In the cargo area: shovels, work boots, a roll of Nadine's plastic, floating and deflating as the water drains from the hold. Ed stops winch. ED: "You're good, Sheriff." Ed joins Hawk at the rear of SUV. ED: "Nadine's plastic." Hawk nods and taps his earpiece. HAWK: "Cappy." CAPPY (VO): "Go ahead, Sheriff." HAWK: "Inform Agent Rosenfield we're ready for forensics." Ed rubs the back of his head, depositing grime from his muddy oily hands. HAWK: "We don't think Nadine was involved, Big Ed." ED: "Let's hope so." Ed busies himself wiping his hands with a shop towel.

EXT. OWL CAVE, PT CRUISER, BLACK LAKE - DAY

From high above the Owl Cave, then through ever thickening forest, we see Ed and Hawk far below, next to tow truck, Sheriff's cruiser, and PT Cruiser on the muddied banks of an untamed shore of Black Lake.

EXT. BOOKHOUSE - DAY

The cottage Bookhouse, blanketed under the shade of pines and firs, doubly dark from overcast skies. Shelly's baby blue Charger parked outside.

INT. BOOKHOUSE - DAY

Two Bookhouse boys watch Shelly. Shelly, wearing a Bookhouse Boys Jacket, sits at the bar of the antiquated library. A crotch rocket revs outside. She swallows a final gulp of whiskey. She watches the door. Bobby, in civies, enters. Bookhouse Boys stand. BOBBY: "Relax, folks, Bobby Briggs here, ex-husband of a Bookhouse Girl, okay? Officer of the law? Legacy? Football hero?" Shelly nods. The boys sit. BOBBY: "Shelly!" Bobby moves toward Shelly. BOBBY: "Leo's not ever getting out!" She stands from bar and hugs him. They break the hug, awkwardly. Bobby looks around and moves Shelly to a private area of the labyrinthine library, next to a overhead speaker: Lyrics, refrain: VOICE: "Wralk with the images, they float right by. Wralk with the images, they float right by. Wralk with the images, they float right by." They both stare at the speaker. We can't hear the two. BOBBY (mouthed, with caption): "He kissed her." SHELLY (mouthed, with caption): "Who?" BOBBY (mouthed, with caption): "Who do you think." Bobby moves Shelly again, deeper into the twisting pathways of the Bookhouse. VOICE: "Wralk with the images, they float right by. Wralk with the images, they float right by. Wralk with the images, they float right by."

INT. VIDEO SCREEN (CGI)

Google Earth view of Bookhouse, Charger, Bobby's Ninja. View rotates around building and trees. Click. Screen dark.

INT. EON - DAY (CGI)

Garland lifts his hand from the video screen above. Garland tips back in his chair, face lit by other monitors. Cooper questions what Garland was watching. GARLAND: "It's good you have the day off, Agent Cooper." COOPER: "Why are you surveilling your son, Major General?" Garland looks down. GARLAND: "I am understandably curious." COOPER: "That is not an answer, Major General." GARLAND: "True. I believe Robert's quest is reaching a crescendo. Intuition, we spoke of earlier." COOPER: "As you would say, 'fair enough.'" Cooper furls his brow at nearby noise from an unseen animal in a large sealed barometric chamber. GARLAND: "Feeding time." Garland presses buttons on keyboard as Cooper regards another monitor, showing a gas chromatograph mass spectrometry. COOPER: "The pitch gum contains what?" GARLAND: "We've tested Margaret's pitch gum, before and after chewing. Nothing, really. Except, insomuch as other matter, organic compounds found." Cooper points to the chromatograph. COOPER: "Iridium?" GARLAND: "No, organic, as in its spruce resin base, but also containing owl DNA." COOPER: "Fascinating. And these aurora we are experiencing?" GARLAND: "Aurora are harmless." Cooper regards screen showing 'Parts per billion: Iridium.' COOPER: "The Iridium. Where are levels higher?" GARLAND: "Well, anywhere experiencing volcanic-" Cooper snaps his fingers. COOPER: "Hawaii! Doctor Jacoby!" Garland smiles, dubious. GARLAND: "How one's mind travels, Agent Cooper." COOPER: "Is how one's mind unravels, Agent Briggs." Garland chuckles. On another monitor, captions: 'Lydecker Clinic' 'Enter species.' GARLAND: "Shall we?"

EXT. LYDECKER CLINIC - LATER - DAY

Cooper's black Q5 SUV parked next to Garland's strange black Hummer. Reflected in the front windshields, dark churning clouds above, though the Hummer's windshield is occluded and barely reflective.

INT. LYDECKER CLINIC - GERSTEN'S OFFICE - LATER - DAY

The large office is furnished with a couch, chairs, coffee table with caraf and cups. And Gersten's desk. Gersten wears a medical lab coat, with the tiniest spot of blood. Gersten sits with Betty. They both turn as Cooper and Garland enter. As Garland closes door, Gersten moves to her desk's computer. Betty stands, moves to Garland, and gives him a peck on the cheek. GARLAND: "Hello, my dear. I hope the day finds you well." Mozart Concerto no. 3 plays over office's speakers. BETTY: "Of course, dear. How's Robert?" Garland glances at Cooper. GARLAND: "He's fine, dear." The four sit around the coffee table. Gersten motions them to lean in. All speak low. GERSTEN: "Okay, let's address my special cases." Betty smiles and pats Gersten's hand. GARLAND: "Doctor, do you have any clue as to why these animals went berserk?" GERSTEN: "It has to be environmental. They were exposed to something. But disease and environmental conditions spread, they don't occur simultaneously. And in that circular pattern." Gersten throws down her hands. GERSTEN: "Can't we just ask the Log Lady what she thinks?" Cooper nods, smiles. GERSTEN: "Maybe it's the owls. But in a circle? That's just, well, unnatural, manmade, there is no other reasonable explanation. These animals were not simultaneously attacked by owls, nor any other single species." Betty taps Garland's shoulder. BETTY: "Internment at sunset, 5:58. Come dear, we have to get ready for the ceremony." GARLAND: "The ceremony." Cooper droops his head.

EXT. SKY & WOODS - EVENING (CGI)

Douglas firs thrilling in the bursting gusts. Storm on horizon, pulsing with lightning. Aurora in reds and emeralds occluded above clouds. A great horned owl perched on the highest tree's pinnacle. It turns its head 270 degrees toward storm. Lightning and aurora reflect in its eyes then inner eyelids.

INT. ONE EYED JACKS - OBSERVATION BAY - EVENING

Bustling casino below gigantic two-way mirrored glass Observation Bay. Digital clocks near multiple cameras pointed into casino. Clock reads 5:34:47 p.m. Ben sits in front of an empty whiskey glass, an unlit cigar in his hand. Jerry, tipsy as he walks, brandy in hand. They watch the casino below through mirrored glass. BEN: "The Hunchback?" JERRY: "In absentia." BEN: "Audrey?" JERRY: "The leg is working perfectly." BEN: "Nancy?" JERRY: "Video, Ben. Mr. Neff?" Ben chews the end off cigar and spits it. BEN: "Video, Jer. And our Leo?" JERRY: "Jailed on charges of victim intimidation, resisting, possession of government property, vandalism, desecration of grave site, assault on ... I think you know her, Ben. Eileen Hayward, Donna's mommy, Daddy." Ben sniffs the cigar. BEN: "Sometimes Jer, I wish we were kids again." JERRY: "Why's that, Ben?" BEN: "Because I miss those times. Back then I would choose to either punch you in the face, or give you a gold star for brilliance." Ben lights his cigar with puff after puff of flame. Ben stands, walking around bay to Jerry. BEN: "We had better hope that it makes sense to Cooper that Leo would naturally try to hurt the Hayward family, a companion family to our own. Why, I say, what hurts Donna, naturally hurts me." Jerry sneers. BEN: "So don't dismiss Donna. True, she might be as cold to me as Audrey once was. But she is coming around." Ben puts his arm around his brother, and walks him around room. BEN: "So, Jer, in lieu of fisticuffs..." Jerry eagerly nods. BEN: "I will settle on your word, Jer, on your word, that you will afford Donna all the love and respect you show Johnny and Audrey." Jerry stops, halting Ben. JERRY: "Ben, sometimes you make me want curry." BEN: "What?" JERRY: "Yellow, red, hell, black truffle curry, remember?" Ben squeezes Jerry's shoulder to his, reminiscing. They continue their walk. BEN: "Oh yes, when we were just starting out." JERRY: "That was the same time as Eileen, remember?" BEN: "Go on." JERRY: "I always love the ones you love." BEN: "What about Sylvia?" JERRY: "Benjamin, you know I don't like white curry, and neither do you!"

EXT. SKY & WOODS - EVENING (CGI)

From a douglas fir soaring above Easter Park, Calhoun Memorial stands in the far distance, under the dark cloying drizzling deep pre-twilight. Aurora Borealis and lightning brighter in the darkling eve. A zephyr swats a branch, lurching it at its companions under a flicker of far off lightning. Owl's single hoot.

INT. CALHOUN MEMORIAL HOSPITAL - MORGUE - SUNSET (CGI)

A morgue cooler labeled 'FBI' 'EVIDENCE' 'Palmer, Laura' in background. Sam and Albert stand by the bare table, where Laura's corpse once lay. ALBERT: "Okay, Sam, let's move. It's time." Sam regards a strand of grey hair, bagged. SAM: "I'm sure its nothing, sir. Busy work." Albert points at his watch. SAM: "Time, yes sir. Time. Of course, time." Albert and Sam exit. Following the curvatures of the steel table, and its reflections in the bright deserted morgue. Reflections: Laura's locker, ceiling flickering florescent tube, small basement window to greenery outside, swinging doors to morgue, plastic privacy curtain, medical tray without instruments.

S3:E6: ACT THREE

EXT. SKY & WOODS - SUNSET (CGI)

Lightest drips of rain. Aurora Borealis in green and red curtains lighting up sky and clouds. Douglas firs thrilling in the bursting gusts. Below them, fluffy scotch pines trembling in the bursting gusts. Below them, the dearly gathered in:

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - SUNSET - (CGI)

Clock tower strikes nine. Laura's casket being lowered into her tomb. Albert surveys crowd from hill. Many hold single rose. Among over a hundred: Sarah, Log Lady, Andy in uniform, Bobby in civies, Mike, Shelly, Norma, Waiter, Ed, Donna, Doc Hayward, Eileen (head bandaged in wheel chair), Betty, Sylvia, Jacoby, Joey, Wolchezk, Gersten, Judy, Harriet, Heba, Lana, Sam, Ronette, Young Lady veiled in Black, middle-aged lady veiled in black, many others, Neff, Reverend Brockelhurst, Little Nicky, old lady veiled in black in wheel chair. REV. BROCKELHURST: "So, Laura, as we say goodbye, it is time for your friends, your family, your loved ones to pay their individual respects ..." Coffin drops, thuds. REV. BROCKELHURST: "Lord have mercy!" Ground rumbles. Slushing of mud. Screams. Leland's coffin tears through wet mud, pops over and open, catapulting Leland's rotted corpse onto Laura's casket in a jumble of bones and slop and Leland's putrid head slopped onto her coffin, face-down, as if in a kiss. Screams, pandemonium. SYLVIA: "My God!" Sarah feints to Log Lady. LANA: Sarah!" A leg bone flies into the lowering mechanism. Sparks and arcs of electricity. The lift goes up and down in showers of sparks and snaps of electricity. JUDY: "Oh my God, oh my God, oh my God!" Screams. Bobby grabs Betty, draws his gun. Shelly slipping in heels. SAM (to earpiece): "Albert, I'm in." Lana pushing toward Sarah. Joey slipping in mud backwards. People screaming. People running. Jacoby struck in head by someone running by him in a blur. Jacoby falls. Doc Hayward fuming, swatting away Eileen's hands. DOC HAYWARD: "Damn you people to hell!" Eileen holding him back. DONNA: "Daddy, no." BOBBY: "I'm leaving this f*cked up town tonight! Whoever did this is sick! You sick f*cks! YOU SICK F*CKS! You're all sick!" Red, Blue and white flashes of police vehicles. Bobby exits toward his Ninja crotch rocket. Sarah comes to. Sarah stands. SARAH: "I want her cremated! No one will ever touch my Laura!" Amid pandemonium, Cooper stands, transubstantial. Ronette points at the sparking mechanism. RONETTE: "Electricity." Cooper snaps his fingers to the music.

EXT. BLUE PINE LODGE (PACKARD HOUSE) AND BLACK LAKE - SUNSET - CONCURRENT (CGI)

We see the huge log beside which Laura was found 25 years ago. On the shore, near the spot where Laura was found, we see a gasping cutthroat trout. Snatched by an owl in a blur and a shriek. Nearby, a fishing line glimmers in the moonlight, right down to its bloody hook. Clock tower strikes nine.

INT. DOUGLAS FIR ROOM (CGI)

In the immense circular carved room, Josie, Harry, Margaret, and Pete stand by the four sides of a small table. Harry turns from person to person. HARRY: "Josie, how!? And Pete! What's going on, Margaret? Tell me!" MARGARET: "It's not what's going on, it's what has gone on." HARRY: "No riddles, Margaret. How is all this possible!?" MARGARET: "Perhaps this will help." She nods to Pete and Josie, and all three lift their arms. The carved circular walls disappear and are replaced with swirling sparks, the woods beyond a swirling blur. MARGARET: "I can't stay, I'm under attack." Clock tower strikes nine. Margaret, then Pete, then Josie, then Harry, begin to fade. HARRY: "Noooo ..." FADE TO EXT. WOODS - SUNSET. The tree that Josie and Harry entered. An owl hoots loud. A second owl hoots far away. A third barely audible hoot.

EXT. TWIN PEAKS ASYLUM - CONCURRENT - SUNSET (CGI)

Entire scene transubstantial, Asylum especially transparent, showing EXT. WOODS & ASYLUM HILL - SUNSET. Clock tower strikes nine.

INT. TWIN PEAKS ASYLUM - DAYROOM - CONCURRENT - SUNSET (CGI)

Entire scene transubstantial. Nadine, Annie, Gerard, Johnny, Beth, and Roundtree sit in a circle of chairs, silent. We see Cooper standing nearby, who is the only one substantial. Annie's wheat gold tresses a bit disheveled. Nadine's sparkling chestnut eyes darting excitedly. Johnny in headdress, rocking not back and forth but side to side. Gerard giddy as a shoe salesman in hell. Beth, Sarah's twin, motionless, head hung, her white roots showing under her dyed amber red hair. Roundtree, her piercing glare at Cooper. Roundtree, whose hair is so tightly and compactly stretched into a bun, her head and face look like they could snap. They all remain silent. Cooper walks toward circle. He observes them observe him. COOPER: "Nadine, why did you say you saw me before I was ever in town?" Nadine shrugs like a seven year old. ROUNDTREE: "I TOLD you, Dale! NO rings! We all have rules. We never wear jewelry of any kind on this level. Remove it!" Cooper removes it, tosses it in the air, catches it, pockets it, shows his empty hands. ROUNDTREE: "I follow rules. We follow rules. We are positive?" Patients nod. JOHNNY: "Cooper. Cooper. Cooper." COOPER: "Yes, Johnny, good to see you too! Aces! Look up, Johnny. Everything can be better every day you look up." GERARD: "Agent Cooper, I remember you! You are real, Agent Cooper, by God, its true!" Gerard holds out his hand to shake, then sheepishly withdraws it. ROUNDTREE: "Very good, Phillip Michael, no touching on this level either. We are positive?" Everyone but Annie nods. Roundtree turns to Annie. ROUNDTREE: "We are positive?" Annie does an outrageous nod, flips her hair and whips it back, all with an innocent smile. ROUNDTREE: "And no displays, whatsoever! Some innocent could have their eye dashed out by the ugliness fraught amongst those golden curls. They're like knives, they're dangerous. But, I know you don't speak in certain situations. That is your prerogative, but no more garish movements, please, or we may be forced to shave your head and red flag you, and no one wants red flags let alone the several red flags like last time, a shame, an electrical treatment shame. That's why, group, we learn-" COOPER: "Excuse me, nurse, you seem insane, and that's a shame, 'cause FBI's the name, and you're under arrest is the game. Everybody, thumbs?" Cooper gives thumbs up. All the patients give a thumbs up. Except Nadine gives two thumbs up, and two big toes up, giggling. Cooper has turned with fascination to Beth. She looks up below beleaguered eyes and pained expression. BETH: "They call me 'Beth.'" Cooper smiles. COOPER: "Elizabeth?" BETH: "ELAURZARABETH! ELAURZARABETH! ELAURZARABETH!" Cooper startled as patients go nuts in every way all at once: Bird Nadine flaps her arms, claws with toes. NADINE: "Those roosters will be silent!" Gerard waves his hand frantically over his face. GERARD: "I've seen the devil! And there are 12 of him and 12 of her!" Johnny stands, one knee on chair, posed as a mighty chief. JOHNNY (Native American 'war whooping' throughout): "Whoo - oop! Whoo - oop! Whoo - oop! Cooper! Cooper! Cooper!" Annie springs to the floor, dancing, snapping her fingers to the beat, wide happy smile, her golden 'knives' slashing the air. She winks at Cooper. Cooper somnambulates to outside hallway, the room behind him growing dark and quiet. Then fades into blackness as Cooper enters corridor outside and enters the corridor's strange harsh light emanation. Clock tower strikes nine.

INT. CORRIDOR OUTSIDE DAYROOM - CONTINUOUS

Two nurses, gowned, gloved, masked with biohazzard respirators, face shielded, goggled, wheel by a patient who rests on its enormous hunched back, its left side midget, right side giant, twisted and curlicued like a shrimp, stomping its huge right amputee leg stump, and flailing its tiny left deformed two-toed clubfoot. Add elephantitis, purulent bubonic blisters, and garnish with burns, surgery scars, bandages, and bone growths pushing through the skin and skin grafts everywhere, including two uneven mismatched twisted horns. And having Laura's twisted face. In fact, under the huge abomination, Laura's face seems to swim away, as if Laura swam around inside the abhorrent carcass. Laura's face beneath the twisted visage. AREOL: "Hi! Agent Cooper, I'm Areol, Laura's sister, how's 'bout a dance!" Laura's face drifts back into the hulk, we see her perfect shoulder move underneath the beast. Legs, arm, torso, neck, even her hair seems to swim just under the thing. Cooper is appalled. The nurses change their gaze down corridor and to the harsh light's origin. From the light, a form emerges, Laura's seemingly transubstantial angel drifts silent in the air, forward from the light, until only she and Cooper are substantial. The angel, young as ever, stops over Areol. The angel puts its hands to its heart. As the angel and Cooper stare down to Areol: WAITER (OS): "I'm going to the funeral!" Cooper startles. Angel gone. Nurses still stare into light. Waiter thumbs up. WAITER: "Betty Harry, better hurry." Waiter pats Areol's tiny shoulder. WAITER: "That's okay. That's okay." Waiter pats Cooper's shoulder. WAITER: "I'm so sorry." Waiter continues down corridor to Dayroom and dematerializes from his transubstantial form to mere shadow. Clock tower strikes nine. We see Areol's contorted face, her perfect eyes. Laura. And her left eye's sparkling baby blue iris. Match shot to:

EXT. WOODS - SUNSET (CGI)

An owl eye: yellow, circled in red, black pupil with a white crescent shine moving reflection. Inner eyelid WIPE to Pool of garmonbozia, sallow, circled in blood, Black Lodge tar 'pupil,' white crescent of volcanic ash. Inner eyelid WIPE to Pie crust, golden, circled around cherries, black espresso being poured for the 'pupil' of a vanilla ice cream volcano sculpt, a flag at its summit labeled: 'Super Dreamy, Extra Lightning.' Inner eyelid WIPE to INT. COOPER'S ROOM. - THIS MORNING. Cooper is alone, smiles, removes his ring, pockets it, dumps the large envelope, and his ring drops out. He grins, flips the ring in the air. Inner eyelid WIPE to FREEZE FRAME - RING FALLING. The floating ring, gold, circled and highlighted by red lampshade reflection, through and below it: black plastic bag Protocol 121314 'pupil,' a white crescent shine MOVING reflection.


	7. Mike and I are in Love

(Third Edit: 10-10-16)

TWIN PEAKS: EPISODE 7: "MIKE AND I ARE IN LOVE"

S3:E7: TEASER

INT. BIG ED HURLEY'S HOUSE - THE PAST - STOCK FOOTAGE - DAY

Nadine, in Twin Peaks highschool letterman's jacket, stands with Ed. 1991 NADINE: "Oh, Eddy, we have to talk." 1991 ED: "Okay." 1991 NADINE: "Mike and I are in Love!" 1991 ED: "In Love?" 1991 NADINE: "I hope you're not hurt. I wouldn't want to hurt you for anything in the world. Honest, you have to believe that."

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - SUNSET - (CGI)

Aurora Borealis in folds of broken green red swirls. Amid screams and pandemonium, Cooper stands, transubstantial. Ronette points at the sparking coffin-lift mechanism. RONETTE: "Electricity." Cooper snaps his fingers to the music. Laura's coffin shutters under Leland's abhorrent corpse. Albert, gun in air, talking to earpiece. Owls hoot and screech. People slipping in mud. Sirens. Sheriff's cruisers flash red and blue. Log Lady holds Sarah. Single roses in mud. Andy helping people back up. Shelly falling. SHELLY: "Ed!" Ed misses, she falls. Jacoby falls. Mike jumps toward Jacoby. WAITER: "Betty, hurry." NORMA: "Shelly!" Donna cries. DONNA: "Laura..." Donna stares at Ronette's point. DOC HAYWARD: "By God, I'll stop this once and for all!" Doc Hayward moves toward bone causing coffin jumping. A bone snaps. Doc Hayward screams. Eileen stands from wheelchair, then falls toward Doc Hayward. Alarmed, Betty reaches inside her purse. Joey moves to Doc Hayward. Hawk emerges from nearby Scotch Pines and stops mechanism. SYLVIA: "My God, the stench!" Wolchezk helping Eileen up. HARRIET: "Everyone remain calm!" Gersten moves to Doc Hayward. Heba aghast under lace handkerchief. Young Lady veiled in black watches Neff intently. Middle-aged lady veiled in black backing off quickly. BROCKELHURST: "My God, my God." Little Nicky in a blur, running to old lady veiled in black in wheel chair, holding a piece of paper against his nose and mouth, almost vomits. Old Veiled Lady cackles. LADY: "Damnedest thing I ever saw! She holds out her centenarian shaking contorted right hand. MATCH SHOT to INT. DOUBLE R CAFÉ - THE PAST - STOCK FOOTAGE - DAY. Lady with pie at counter scoops a bite of pie. Her right arm shakes, her fork falls, her hand contorts. BACK TO GRAVE YARD. PIE LADY: "That is the damnedest!" WAITER: "I'm so sorry." Ronette points finger at Pie Lady, and snaps her fingers.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E7: ACT ONE

EXT. BRENNAN HOUSE - SUNDOWN

Sweet cherry trees reflect the tenuous aurora above. Beneath the trees, a single story cabin-like ranch house. Near the driveway, a mailbox reads 'The Brennans'. In a window, lit by the aurora, the gold of a birdcage captures the red and green dancing across its bars.

INT. BRENNAN HOUSE - KITCHEN - SUNDOWN

Lucy stares across the kitchen to the living room window and the bird cage. The cage's occupant, a black myna bird with deep orange beak and yellow 'goggled' eye markings. The bird flicks its head around, searching. Lucy adjusts a digital Sheriff's radio receiver. LUCY: "Stupid suspension. Stupid Waldo." Lucy holds a scratch pad, and lingers a pencil across her lips. CAPPY (VO, radio): "... Ambulance in route ..." HAWK (VO, radio): "Copy..." LUCY: "Oh my!" Lucy scribbles on pad. WALDO: "Laura ... Laura ... Laura." Lucy switches off radio. LUCY: "Shut up, Waldo!" WALDO: "Shut up, Waldo. Shut up, Laura. Shut up, Leo."

EXT. SHERIFF'S STATION - SUNDOWN - ESTABLISHING

The front window panes reflect the green wisps and red blankets of the night's aurora. The Stations' green and brown banner sign 'TWIN PEAKS SHERIFF'S DEPARTMENT' looks oddly hued under the sky of lights. Bobby's Ninja parked in front of station. Two Sheriff's cruisers pull out. Cruisers flash red white blue. The sign looks even more oddly hued.

INT. SHERIFF'S STATION - CELLBLOCK - SUNDOWN

Bobby enters, sweaty disheveled. His Sheriff's boots, muddy. BOBBY: "Leo, you sick f*ck! You did this sh*t! You twisted diseased f*ck of a f*ck of a rat-brained f*ck!" JAMES: "What's going-" BOBBY: "I hope they keep hell hot!" Bobby marches past James to Leo. BOBBY: "But before you burn, I hope they _don't_ send you to prison, you f*ck. Not yet. I hope they take your head, strap it to some nice electrodes and fry your f*ckin' brain! Turn you back into a drooling diaper case. Because you know they got those up there at 'Peaky Meadows.' Electroshock, Leo, bzzzzzzzz, electricity, just like the electric chair you deserve. All the time, everyday, everywhere, all at once!" Leo reveals his shoulder: the blistered red tattoo, Fire Walk With 'Me'. BOBBY: "Yeah, you're an arsonist, sh*thead. Where's the tat that says, 'Diaper, Change Me Please!?" LEO: "Fire, walk with me." BOBBY: "Shut up, vegetable." Bobby walks to James. JAMES: "What the hell's happening, Bobby!?" Bobby catches his breath. BOBBY: "Well, Jimmy, in addition to 'Broccoli, walk with me' over there threatening Shelly, I'm sure he had a hand desecrating Laura for the fourth f*ckin time." JAMES: "What!? What happened?" BOBBY: "That's for citizens to know and criminals to find out." JAMES: "I want to talk to Agent Cooper." Bobby walks to door. BOBBY: "I want to talk to Agent Cooper." Bobby exits. Door slams.

INT. HALLWAY OUTSIDE CELLBLOCK - CONTINUOUS

Bobby blows a breath. LEO (OS): "FIFTH F*CKING TIME!" Bobby breathes, clenches his knuckles, then fists. Bobby breathes. He wipes his hair back, opens the door, and calmly, but purposefully walks by James. JAMES: "What's he screaming about?" LEO: "Sixth, seventh, here comes the eighth!" BOBBY: "Leo f*ckbrained Johnson, if you don't SHUT YOUR F*CKING MOUTH, I'll have you bound and gagged! I'm leaving town, so, what the f*ck, I say you escaped, her husband helped me restrain you, I got one off, straight in that f*cked up rotted black brain of the WORST criminal in Twin Peaks history..." Bobby drools, flops his arms. BOBBY: "Eeeeooooo Jawwwwwwwwwnsnnnnnnn, yrrrr hon rrrr." LEO: "Ninth, tenth, eleventh, TWELTH!" BOBBY: "Guess you need the collar!?" Leo rushes bars, Bobby backs up, breathes. Leo laughs, dances around like a boxer, throwing punches, then just dances. Bobby looks to James. BOBBY: "So James, Bookhouse Captain, you up for this sh*t?"

INT. CONFERENCE ROOM - LATER - NIGHT

Caption: 'Midnight March 1.' Albert, Harry and Sam watch Cooper. Cooper in civies, khakis and blue plaid fleece shirt. Cooper regards the room's clock: 12:00 midnight. COOPER: "Albert, I remind you, I am off-duty for exactly..." ALBERT: "Yes, Mr. Cooper, continue." Cooper smiles, turns from the clock. COOPER: "Albert, I remained in my hotel room at the Great Northern until I heard the alert. I then snapped out of my visions. Yes, Albert! Two visions at once, one false, one true. I memorized everyone's actions at Laura's grave site, the true vision. Nor was I at the Asylum, the false vision. I drove immediately to the cemetery to await any orders, passing a black Mercedes coming up the hill toward the Great Northern. I've seen the vehicle before, one of Audrey Horne's cars, being driven by a veiled lady in black. Strange. Audrey Horne is recuperating in Seattle. I waited at the graveyard, observing the Sheriff's Department work the forensics of the crime scene. I waited there until Andy approached me, asked if I wanted a 'black cup of joe?' I said yes, at which time Andy signaled back to the station of my location, I then followed your orders to report to the station." Albert sighs, shakes his head. ALBERT: "We have your statement, Mr. Cooper." COOPER: "But first, Albert, what have we discovered? The sunken PT Cruiser?" ALBERT: "Positive match on the boots, and the plastic. The Hunchback, or an accomplice or accomplices, perpetrated these hate crimes." COOPER: "Or she was framed. Or she is framing her boss, Catherine Martell." ALBERT: "Sheriff Truman, the VIN number matches?" HARRY: "Yep." ALBERT: "Put out an arrest warrant for the hunchback, get this, Coop, Juliette Renault." HARRY: "Aye-aye." Harry touches his earpiece. HARRY: "Cappy, issue an arrest warrant for Juliette Renault." CAPPY (VO): "Got it." ALBERT: "Juliette. Pronounced Zhoo-lee-ette. Check me if I'm wrong, but that's one for the books." Harry hands Cooper a piece of paper. COOPER: "Juliette Renault, sister of Jean, Jacques, and Bernard Renault." ALBERT: "Why do you think this is a frame up?" COOPER: "Albert, the families in this town have long-standing grievances with one another." Albert furls his brow. Sam motions Cooper to his laptop. On the screen, a magnification of two fiber samples. SAM: "We have a positive match. The fibers match, further linking one of the boot-wearing perpetrators to carpet fibers from the Hayward house. Linking the desecrations with the assault on Eileen Hayward." Cooper raises his brow. Laptop screen shows magnification of paint chip, digitally rotating in 3D. SAM: "The paint chip will take some time, digitally matching it to the shovel. Chemical signature exact." Cooper holds up an evidence bag containing an unopened cellophaned wet roll of twine. SAM: "The last item recovered from the PT Cruiser: another roll of Finley's Fine Twine, unopened."

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - LATER - EARLY MORNING

Around the open grave of Laura and Leland's grave, scintillating Twin Peaks reflective Sheriff's tape. In the distance, a tan 2014 Chrysler 300 with tinted windows.

INT. CHRYSLER 300 - CONTINUOUS

Daniel sits in the front seat, the twins in the back seats. AURORA: "But Uncle Dan, I can't see from here." DANIEL: "That's okay dear, we'll pay our respects, later, and then get a bite at that nice little place." LELA & AURORA: "The Double R ... Jynx! ... R Double the. Double Jynx! ... Showdown in downtown ... Twin Peaks Twin ..." DANIEL: "Stop it! I hate it when you two do that! You should know better. Dirty girls disobey, dirty girls must go pray." Daniel slaps his knee and points up with an idea. DANIEL: "Never mind that, girls, let's play a game!" LELA: "No! My arm hurts. That scratch. That stupid owl scratch. I'm not in the mood." Lela rubs her left shoulder. DANIEL: "Oh come on girls, it's called 'scream all you want,' it's a graveyard game, and it's a hoot. A real hoot. Why, I would play it when I was your age, all the time." Daniel opens and chews a stick of purple gum. DANIEL: "Mmm, boysenberry! Okay, here's how it goes: Dream up a scream, what would make you scream. It can't involve anyone real. I'll go first. Some poor fellow, beaten by clubs for days, lives and escapes, comes around the corner and says, 'Feel like ice cream?' I'd scream." Lela laughs. AURORA: "This game is sick." LELA: "Some sweet hypochondriac pill popper church lady robs a hospital pharmacy, and in a drug induced delirium, eats samples of over fifty diseases all at once, swells to almost a sphere, comes rolling around the corner and says, 'Gurshleezle'sklawurz-zhuuzy-squishy!' And explodes. I'd scream." Daniel and Lela laugh. LELA: "It's your turn, Aurora." AURORA: "I hate this game. Some well meaning schmo cart-wheels down a rocky cliff, busting every bone in his body over and over and over. 'He's dead, wrapped in slapstick.' I'd scream." LELA: "You ruined it! You forgot to say, 'comes around the corner and says'!" AURORA: "He's already spinning, that's around. And there's always something around every corner." Aurora snickers. Snorters. Snickers.

S3:E7: ACT TWO

EXT. SHERIFF'S STATION - PARKING LOT - EARLY MORNING

Andy and Lucy walk toward the Station's front entrance, seeing Bobby get on his silver & red Ninja H2R crotch rocket. ANDY: "Good night, Bobby." BOBBY: "Have fun in the mad house, Andy." ANDY: "Mad house?" BOBBY: "This f*cking town." Bobby starts bike. LUCY: "It's only the bad eggs that make the rest of the nest bad, Officer Briggs." Bobby dons helmet. BOBBY: "Welcome back, Lucy. I'm leaving for Seattle." ANDY: "How is Audrey?" BOBBY: "That's what I'm going to find out." Bobby closes helmet. LUCY: "Bobby, don't you need sleep? Because Doc Hayward says 'sleep is the oil that smooths out your day.'" Bobby takes off. Lucy looks incensed. ANDY: "Punkie, Doc Hayward broke his arm in that contraption." Lucy brushes Andy aside. LUCY: "It's all Waldo's fault, Sheriff Brennan!" Lucy enters station, not holding door for Andy. Andy goes to door. ANDY: "Deputy Chief Bre-" Door buzzes open. Andy enters station.

INT. SHERIFF'S STATION - CONFERENCE ROOM - DAY

Along the middle of the table: strange pastries: hand sized pies shaped like donuts. Cooper in FBI suit. Cooper takes one and looks to Harry. HARRY: "Oh, Cappy ordered them yesterday, Lucy was gone." Cooper bites into one, chews, swallows. HARRY: "Norma calls them 'pienuts.'" COOPER: "Stranger and stranger. This one's apple rhubarb strawberry! But not all at once!" ALBERT: "Local cuisine aside, graveyard aside, we have this:" Harry hands Cooper Judy's envelope. Cooper removes papers and reads. Cooper smiles big. COOPER: "Laura had sisters!" ALBERT: "Sisters." HARRY: "Sisters." Harry throws up his hands. COOPER: "Eleven embryos removed. Fascinating! Is this information true, Harry?" HARRY: "We don't know yet, but it's all over town. Daniel Palmer has two grand nieces that people say ... people say-" COOPER: "Are the twins of twins Laura Palmer and Madeline Ferguson, implanted 25 years after Sarah Palmer originally became pregnant?" HARRY: "You knew?" COOPER: "No, Sheriff, I saw them at the Great Northern. In case it was a vision, I did not approach. I'm a strong sender. They are not Laura. Exactly like Maddy was not Laura. I know this." Albert lowers the papers Cooper is reading. ALBERT: "I know this: Laura Palmer is dead and being cremated almost as we speak. William Hayward is in the hospital with a broken arm. Eileen Hayward is in the hospital, leg spasms, related to the occipital contusion, your guess. Donna Hayward is waiting for you in Harry's office. And Mayor Harriet Hayward is on her way here. I'll be brief. The device used to perform the jack-in-the-box with Leland Cooper's cadaver was a modified coffin lift, electrically wired to the one lowering this town's pearl of great price." COOPER: "Stop the cremation! I must speak with Sarah Palmer!" Albert and Harry befuddled. HARRY: "Okay. I mean, Albert?" Albert nods, Harry exits, scratching his head. ALBERT: "Before you jump down the rabbit hole with Sarah Palmer, one more item. Last night, our Sheriff's Department detained a woman who carries a bunch of corn stalks and calls herself 'The Harvest Lady.' Your specialty." Cooper intrigued. ALBERT: "Now, while I calm down the Mayor, promise me, Coop. Decode this, Cooper. After you talk to this lady, you won't come back to me, say she's your mother, a frog told you, a frog you haven't dreamed yet, a frog who's the corn lady's shadow self, but corn has many ears and it is one of those ears, a tiny one, who is the one actually dreaming, except for the one-finned mermaid ... decode." Cooper holds up salute. COOPER: "I promise, Albert!" ALBERT: "Why is that not reassuring?" Cooper continues his salute and broad smile.

EXT. PALMER HOUSE - DAY

Early budding and blooming lavender lilacs rise at the hilled house's laterals. Catherine emerges from her black Lancia Ardea, flanked by two female goons. Catherine walks to the door, sneers at the rising tulip fronds near the front entrance, and rings the doorbell. SARAH (VO, through door): "Who's there?" CATHERINE: "Catherine Martell to see Sarah Palmer." SARAH (VO, through door): "Go away!" CATHERINE: "It's twenty-five years later, Sarah. And since I won't have the opportunity tonight, owing to your habitual absence-" Door opens. SARAH: "Talk to Lana Milford." Sarah goes to close door, goon blocks it. CATHERINE: "Now Sarah, I would hate to have to yell all those unfortunate details about your ... about _all_ your daughters, and the terrible revelation that you, my dear, had more than something to do with dear Laura's death. Why, it might jeopardize your settlement." Door opens, revealing Sarah with a bat. SARAH: "Leave your dogs outside." Catherine waves her hand, and goons withdraw. Catherine enters. Door locks.

EXT. LYDECKER CLINIC - DAY

The rough hewn stone facade sports a large sign, 'LYDECKER' 'Veterinary Clinic' 'Aid to the beast incarnate.'

INT. LYDECKER CLINIC - GERSTEN'S OFFICE - DAY

Gersten on cell phone. She stares into her computer screen. GERSTEN: "My God, no! Those animals were not attacked, and certainly not by Nadine Nelson! What kind of news is the Milford, is the Twin Peaks Gazette printing!" Gersten hangs up. On her monitor, a medical photograph showing close up of a black cat's wound across its head and ears. GERSTEN: "Self inflicted. That's just not possible." Monitor flickers and glints. Glint. Glintity glint glint. Glint.

MONTAGE - ELECTRICAL SHORTS

Palmer house flickering. Sparks from the ceiling fan. Double R Café sign flickering. Sparkwood & 21 street light flickering. Electricity snapping on coffin mechanism. Electric sparks on Leo's medical collar. Sheriff's Station lights going out during Windom attack long ago. Lightning striking near Roadhouse the night Leland was arrested. FREEZE FRAME on lightning strike, glowing ever brighter. Over these images: COOPER (VO): "Sam, that night at the Roadhouse, that long ago night Leland Palmer was arrested, the air was electric with lightning. That night, 12 were assembled: Myself, Albert, Harry, Ben, Bobby, Leo, The Waiter, Hawk, Leland, Garland, and later, the Giant and the Midget. Conversely, on the night of February 27 at the Double R, where you and I were among 12 of us gathered, that night also revealed, yet shadowed the truth. If you will recall, earlier that night Margaret, shrieking like an eagle, said to me, I quote: 'Can't you count!?' Sam, there were thirteen of us there, fourteen with Gordon." SAM (VO): "I assure you, Special Agent Cooper, there were only twelve heat signatures at any time, including the moment of your alleged astral travel, sir." COOPER (VO): "Margaret's Husband was the thirteenth." SAM (VO): "The Log Lady's log has no abnormal heat signature, sir." COOPER (VO): "You miss my meaning, Sam. That night long ago, there was also a thirteenth: Bob."

EXT. GREAT NORTHERN - BOAT DOCKS - DAY

Moored at the docks, the gleaming white yacht, ' _Château Promenade_.' Ben and Jerry, hung over, exit the yacht, down the gangplank. Julie waits for them, papers and a tablet in hands. JULIE: "Mr. Horne, there was an incident at the Palmer ceremony last night. Leland's coffin turned over and, um, his corpse fell out onto Laura's casket." Ben shocked, waves cigar. BEN: "My God, the sickness! Heads are going to roll, Julie. Heads are going to roll!" JERRY: "F*cking Leland. Leland f*cking Palmer." BEN: "Jerry, kill Leland." JERRY: "He's already dead, Ben." BEN: "Jerry, kill Leland again." JERRY: "Let's get you some borscht, Ben." The three take a few strides toward the Great Northern. JERRY: "He was the one with the twins." BEN: "Leland?" JERRY: "No, well, yes, but no. Daniel Palmer and two more Lauras." Julie nods. JULIE: "Aurora and Lela Flying Eagle." Ben waves, Julie exits toward Great Northern. BEN: "Two Laura Palmers, Jer, two?" JERRY: "Two's better than one, Ben." BEN: "Your math is impeccable, Jer, impeccable!" Ben takes his cigar, bites off tip, lights it, takes one puff, stares at the cigar, and throws it off the dock. BEN: "Now, the borscht!" Jerry snaps his finger in the air, yelling to someone: JERRY: "And Beluga!"

EXT. TWIN PEAKS ASYLUM - LATER - NIGHT

A murder of crows takes flight from the domed roofs of the moonlit hospital. Perhaps the flock are dispersing at the thwapping of a far off helicopter. Perhaps the flickers of apple green aurora. Or perhaps the warm light switching on in the lobby. Caption: 'Midnight March 2.'

INT. TWIN PEAKS ASYLUM - LOBBY - NIGHT

From the empty lobby, we see the closed safety-glassed doors to the dark dayroom. Ed stares at Jacoby's bandaged head. JACOBY: "Ed, you've got to get Nadine out of this place." ED: "Nadine really saw Agent Cooper weeks before the town hall? That doesn't make any sense, Doc. Even if she was hypnotized." JACOBY (whispers): "Before he emerged from the Black Lodge-" They both jump as: MIKE (OS): "ED!" Mike enters. Mike looks steamed, marches up, sees Jacoby and does a double take. MIKE: "Are you a patient here now Doctor Jacoby?" Jacoby chuckles. JACOBY: "Everyone is a patient of their own minds, Michael. But no, someone conked me at the burial. Never mind. Both of you love Nadine in your own way, as I do. Let that love lift up your hearts to help the hurt inside her." Nadine enters. Mike goes to her and hugs her. NADINE (to Mike): "Oh, Eddy, I hope you're not hurt. I wouldn't want to hurt you for anything in the world. Honest, you have to believe that. (to Jacoby) Oh, Mike, did you hurt your head again? (to Ed) James! James Hurtley!" Ed and Mike struggle in incredulity. Jacoby pleased by her every word. JACOBY: "How old are you, Nadine?" NADINE: "Don't be silly! I'm a hundred and three. I've always been a hundred and three. I'm very old. But you know, that makes me three again!" JACOBY: "What's your name." NADINE: "Nay-een. Nay-een Buwwa." Ed and Mike exchange a worried glance. JACOBY: "Nadine, are you awake right now?" NADINE: "No, silly, I'm asleep." Nadine's sparkling chestnut eyes.

EXT. SHERIFF'S STATION - NIGHT

Although several windows are dark, the conference room is lit, shades closed.

INT. SHERIFF'S STATION - CONFERENCE ROOM - NIGHT

Albert and Cooper sit back, with feet resting on tabletop, Albert with muddy galoshes from the grave site. Albert rests his hands behind his head. ALBERT: "You know what I'm hoping, Coop?" Cooper intrigued. ALBERT: "To establish a better trail to these crimes. To hopefully match that paint chip. Boot fibers were a lucky break, Coop. And the boot prints match the boots." Knock on door. Albert and Cooper take their feet from table. ALBERT: "Enter." Donna and James at door with Andy. ANDY: "Agent Rosenfield?" ALBERT: "Let them in, Sheriff." Albert stands, wipes some dirt he deposited on table, and regards Donna and James. Cooper stands. ALBERT: "Good little Book House Boys stay out of jail." James looks to his feet. ALBERT: "And good little girls _always_ tell the truth." Donna hides her indignance, turning to James. Albert exits. Donna closes the door. COOPER: "Donna, James, you wanted to see me?" He gestures for them to sit, they do. Cooper stares down at them. DONNA: "Agent Cooper, I'm so glad your back. You've got to release James. We know where Audrey Horne's letter is. We can help you find it." Cooper regards James, head downcast to his feet. ALBERT (VO a minute ago): "...boots..." COOPER: "James, remove your boots." JAMES: "What!? ... Okay." He does. Cooper examines them, the heel, wrenches it, and opens it. Cooper gloves up, removes tweezers from a kit in his pocket, and extracts the folded letter from heel. JAMES: "Listen, Agent Cooper, we wanted to tell you! But (whispers) we need to talk in private." COOPER: "Donna, James, complicity to hide, destroy, or alter evidence in a criminal matter may amount to obstruction of justice. May I suggest you both go home and ponder your actions, and whether your motivations are truly philanthropic or perhaps self serving and myopic. James Hurley, you are free to go." Cooper opens the door. They stand and begin to exit. COOPER: "A measure of truth, and a measure of light, folks, spares immeasurable measures of pain and suffering." Donna looks at Cooper. Cooper stares at Donna. Donna looks down, back up, tearing up. Donna holds her left arm. DONNA: "Pain and sorrow." COOPER: "Yes, Donna, all wrongdoing brings pain and sorrow."

S3:E7: ACT THREE

EXT. GREAT NORTHERN & HORNE WOODS BENEATH WATERFALL - LATER - NIGHT

Donna stands, staring into the mist, holding her left arm, face blank, eyelashes bedewed. She and James, clothes damp in the spray of mist, faces dappled. James stares back and forth from Donna to mist. JAMES: "Listen, Donna..." Donna looks down. DONNA: "Did Cooper fall for it?" JAMES: "I didn't give him the fake letter." Donna whips to James. DONNA: "What!?" JAMES: "Listen, Donna, I couldn't. The grave, all this stuff, is making my head hurt, its too weird. And it's wrong." Donna grabs Bobby's leather lapels. DONNA: "James, do you know what you've done!" JAMES: "I don't care about any of this stuff, let's just leave, you and me." Donna straightens his lapels, wiping condensation. Donna turns to mist. DONNA: "And Shelly?" JAMES: "I'll get a divorce, just as soon as my stupid inheritance gets here." Donna turns back to James, smile aglow. Donna kisses James. DONNA: "Is she cheating on you?" James hangs his head. Donna strokes his cheek and jaw. DONNA: "James." James nods. DONNA: "Bobby?" JAMES: "I don't think so." DONNA: "Who, James, who?" JAMES: "I can't." DONNA: "Oh, James." She kisses him, they embrace, arms all over each other. They sink down to the forest floor. We travel closer and closer to the mist and the crashing waterfall.

EXT. GREAT NORTHERN & WATERFALL - NIGHT

Traveling up from the mist at the falls' crashing base to just above its brink, and the warbling reflection of the Great Northern.

INT. GREAT NORTHERN - RECEPTION DESK - NIGHT

Catherine and Neff approach Julie. CATHERINE: "Catherine Martell and counsel." NEFF: "Mr. Neff." JULIE: "Mr. Horne regrets that he cannot meet with you any time soon, Mrs. Martell, but will gladly see you at the scheduled meeting at the appropriate hour."

INT. DOUBLE R CAFÉ - KITCHEN - NIGHT

Entire café dark, save one light in the dark kitchen. Heidi prepares a pie. HEIDI: "Heidi make special pie for Stump Lady. All yummy turkey pot pie, mmm-mmm, shreds of slow roasted white and dark, glazed carrots, stuffing crust, creamy chicken stock, chives, with even tinier cranberry pie on top, oh, don't forget creamed corn, mmm-mmm!" Heidi sneers. HEIDI: "She no Lady." Heidi tops the pie with dough crust and cuts 3 strange slits in the pie. She places the pie with others on a sheet tray. All the others have but one slit. She places the pies in a cooler. The sole remaining light in the kitchen clicks off.

INT. ONE EYED JACKS - NIGHT

Unknown woman's black thick-veiled face deals a tarot card with her lips: 'The Fool'.

EXT. WOODS - 6 DAYS AGO - STOCK FOOTAGE - DAY (CGI)

Margaret unceremoniously tosses her log into the fire. Harry almost grabs it and Hawk stops him. Embers fly up then swirl. The entire forest behind them blurs and spins. Garland, Harry, Hawk, Margaret at four compass points around swirling fire, rife with crimson streaks.

INT. DOUGLAS FIR ROOM - 1 DAY AGO - STOCK FOOTAGE (CGI)

Margaret nods to Pete and Josie, and all three lift their arms. The carved circular walls disappear and are replaced with swirling sparks, the woods beyond a swirling blur.

INT. GREAT NORTHERN - COOPER'S ROOM - 3 DAYS AGO - STOCK FOOTAGE - NIGHT (CGI)

HARRY: "It's just a wooden knob, Cooper." COOPER: "Exactly. Something's missing. It's a puzzle piece, Harry." Harry shakes his head. HARRY: "Cooper, I'm having a real hard time believing any of this." Cooper smiles broad. COOPER: "You don't have to, Harry. I have a way for you to see." HARRY: "Cooper, Margaret tried that when she burned her log. I didn't dream or see anything."

INT. SHERIFF'S STATION - HARRY'S OFFICE - NIGHT

Harry, tired, wipes his brow and regards the sweat on his hand. In his other hand, he rolls a chessboard pawn.

INT. PALMER HOUSE - MONTAGE - LATER - LATE NIGHT (CGI)

Staircase: Fan gone, wall and ceiling plastered. Living room: Vase with no flowers. Kitchen: Hot cup of coffee, steaming. Ashtray with single cigarette, burning. Laura's Room: Door open, preserved for 25 years. Tremond picture frame on wall. Dining Room: plate of roast beef, mash, brussels sprouts steaming, pie slice under steamed glass. Upstairs Hallway: Barely cracked open Bathroom door, sliver of mirror visible. Intensely bright light. Pop! Florescent tube pieces shatter in flash of light and falling sparks, pieces scatter out the door, the final sparks falling in that sliver of silver.

EXT. SPARKWOOD & 21 - LATE NIGHT (CGI)

Stop light green. A single spark falls up.

INT. GREAT NORTHERN - LOBBY - LATE NIGHT

Little Nicky talks on cell phone. He looks around, seeing Catherine exit with Neff. NICKY: "Yeah, Horne just left, too." He pockets the phone. He looks at a half muddy piece of paper. NICKY: "Now, Doctor Jacoby, let's just see what you are up to." He holds a list of names. Checkmarks next to: Ronette Pulaski, Jonathon Horne, Benjamin Horne, Sylvia Horne, Audrey Horne-Briggs, Robert Briggs, Nadine Nelson, Sarah Palmer, Daniel Palmer. Names without checkmarks: Donna Hayward, James Hurley, Garland Briggs, Shelly Hurley, Margaret Lanterman, Phillip Michael Gerard, Annabelle Blackburn, Deputy Chief or Mrs. Hill, Mayor Harriet Hayward, Special Agent Dale Cooper. Other changes to previous list: Nadine's name crossed out, question mark next to Annabelle, and a checkmark next to Cooper.

EXT. ROADHOUSE - LATE NIGHT

The neon of signs on the Roadhouse and its entryway lights dark. Barely audible owl screeches in distance. Many cars parked outside, their windshields damp with dew. Upon the dappled windshields, drops of rain drizzle down, streaking the glass with driplets and droplets.

INT. ROADHOUSE - BACK HALLWAY - LATE NIGHT

In a dimly lit corridor to the expansive main room and bar, Eileen, head bandaged, fumbles with her fingers. She looks down to her wheel chair's restored wheel. She moves her hand to the chairs control knob as an umbrella jams into the wheel to stop her. Catherine holds umbrella. CATHERINE: "How are the Hayward girls?" Before Eileen can speak: CATHERINE: "Why you couldn't get three daughters to look so different from one another if they were bred and domesticated in captivity. And none of them resemble William, do they, dear?" Catherine raises a champagne glass. CATHERINE: "So I don't imagine I'll hear anything from the Hayward Clan, tonight, hmm? Answer!" EILEEN: "No, Catherine." CATHERINE: "Good. Oh, dear, how's the head?" EILEEN: "It's fine, Catherine. But before you go in there, you're going down in flames, and I'm going to be there to watch you burn!" CATHERINE: "Up in flames. Up, dear, up. People who walk, walk upright, and look up, not down. Cheer up, dear, (whispered) now wheel your wh*ring *ss in there like a good bitch." Eileen appalled. Catherine smiles. We follow Catherine as she moves to the main room.

INT. MAIN HALL & BAR - CONTINUOUS

Eileen follows Catherine into the Main Hall. They join Ben, Lana, Ed, the Pie Lady, and Lela? Aurora?, with Laura's blond locks, wearing TP letterman's jacket, 'Lauralike' we shall call her. PIE LADY: "Hush!" She pounds gavel. PIE LADY: "The Legacy Court is in session. The Renaults are in charge! One matter, one voice, one vote: Is Catherine Martell guilty before this court of all these acts of terrorism!? Each of you will have one statement, one vote." Pie Lady pounds gavel. PIE LADY: "IN ORDER. Renaults! Placide Renault." Pie Lady/Placide touches her heart. PLACIDE: "The poker chips shoved into the corpse are an insult upon the Renault Family, like your accusations against my dear Juliette. Guilty. Milfords!" Catherine looks down her nose at Placide. LANA: "Lana Milford. I follow the law. Abstain." PLACIDE: "Hornes!" BEN: "Benjamin Horne. She has the most to gain, guilty." Catherine has daggers for Ben. PLACIDE: "Martells!" CATHERINE: "Catherine Martell. I'm being framed by more than one of you, like that snake Horne! Innocent." PLACIDE: "Hurleys!" ED: "Edward Hurley. Don't know folks, let's let law enforcement handle this one. Abstain." PLACIDE: "Palmers! and Haywards! Who speaks first?" EILEEN: "Eileen Hayward. I'll go first, since our families arrived in Twin Peaks the same day. Guilty!" Catherine fixes her gaze on Eileen, her fury and eyes never leave her. PLACIDE: "Palmers!" LAURALIKE: "Grandma-ma Sarah and Lana Milford, her lawyer, have authorized me to vote: Guilty." PLACIDE: "Having heard not only a plurality, but a majority of the Seven pronounce a guilty verdict, we do officially, as a body, convict you not only of these crimes, but crimes against this court, and the seven families. Since we only hear one question and one vote, no punishment is yet imposed. But know this, in 28 days the Hornes are in charge! The Legacy Court is adjourned!" She pounds the gavel then waves the gavel in the air. PLACIDE: "Yoo-hoo! Benjy Horne! Get the damn gavel this time!" She pounds the gavel once. A clawed gavel. Twice. An owl claw. Thrice.

EXT. ROADHOUSE - LATE NIGHT (CGI)

Rising from the dark Roadhouse, across the town, the domes of the dark Asylum, on a far opposing hill, are sheltered in low lying passing cloud. Mists pass, in fact, a microscopic single passing sphere of condensate warps the view through the droplet's watery lens.

EXT. ASYLUM ROOF - LATE NIGHT (CGI)

Lightning flashes in distance, lighting the wet ponderosa pines and douglas firs surrounding the secluded Asylum. Wisps of green aurora. Along the circumscribing guard-railed observation deck, a metal security door. Bang! The door flies open. Areol wiggles on the threshold. The sloppy bloody hunchbacked half-giant half-midget diseased shrimp-shaped gristled giblet. Inside the huge carcass swims Laura. Areol flops along, her 'giant' eye and head swelling greatly, with skin grafting over all those exposed bones and horns. She wiggles and wriggles, flips and flops over to the guard rail and roof's edge, transforming. The iris of her eye is now huge. She now resembles a huge disfigured embryo thing. Her iris: twelve-pointed blue fractals. AREOL (LAURA): "You know it's a real dream because there's trees in the background. Communication End For Me."

INT. UNKNOWN RESIDENCE - NIGHT (CGI)

We see a dark flat screen. Click. Captions: 'PINK SWEAT' 'presents' 'TWIN SPEAK' 'introducing Lela and Aurora Flying Eagle as The Twins.' Lela with tangerine hair, ending in saffron tips. Aurora's hair is clear. Digitally weird and wonderfully clear, each strand a warping magnifying tube. AURORA: "Hi, I'm Laura's sister." LELA: "Sister Lauras: 'I'm hi.'" They giggle. LELA & AURORA: "Here's the reenactment:"

ANOTHER VIDEO SCREEN showing EXT. GHOSTWOOD MEMORIAL GRAVEYARD - DAY

Dark screen. Click. Aurora with strawberry blond waves. Lela with flat jet tresses. Robby with grey tangles, red temples. Robby licks his lips salaciously. LELA: "Ick!" AURORA: "You're gross!" FREEZE FRAME. ANNOUNCER (BEN, VO): "'Keep Twin Peaks Clean' presents: 'Dealing with Drugs.'" Caption: 'DEALING WITH DRUGS.' END FREEZE FRAME. Robby holds up a bindle of cocaine. ROBBY: "Hey, girls, can I light a fire under there, or what?" AURORA: "Ewww!" LELA: "I'm going to take a dirty old rusty broken industrial saw blade, white-hot, and deli-slice you a millimeter a day for the rest of your tortured, shrieking, smouldering existence." Daniel enters, smiles. DANIEL: "And... Cut! Hi, everyone, I'm Daniel Palmer, and these are my grandnieces, Lela Flying Eagle, and Aurora Flying Eagle. Great job, angels!" Daniel gestures wide. DANIEL: "And I'm proud to introduce my grandson, Roberto Palmer." Robby acts all hot and cool for camera, licking his lips. DANIEL: "We all just wanted to introduce ourselves, so everyone knows exactly who we are." Click. Clickity click click. Click. Clickity click click. Click.


	8. Was Laura in it?

(Third Edit: 10-25-18)

TWIN PEAKS: EPISODE 8: "WAS LAURA IN IT?"

S3:E8: TEASER

INT. PALMER HOUSE - LIVING ROOM - THE PAST - STOCK FOOTAGE - MORNING

Sarah sits with Maddy. 1991 MADDY: "Aunt Sarah?" 1991 SARAH: "Yeah?" 1991 MADDY: "I had the strangest dream last night." Sarah looks horrified but enthralled. 1991 SARAH: "About what!?" 1991 MADDY: "The rug. Right here. Right from this angle where I'm sitting." 1991 SARAH (whispered): "Was Laura in it!?" Maddy is about to speak, when white-haired Leland appears from behind room divider. 1991 LELAND (singing): "O, mares eat oats and does it oats and little lambs eat ivy..."

EXT. SHERIFF'S STATION - FRONT ENTRANCE ROOF - THE PRESENT - MORNING

Looking down from the large banner sign, rain falls. Though morning, thick clouds cast a pall of darkness from an early morning storm.

INT. SHERIFF'S STATION - RECEPTION - MORNING

At the front entrance, Norma shakes rain from her overcoat, holding open the security door. Lightning flashes. Ben enters and nods to Norma. NORMA: "Ben." Lucy, in reception, points and Ben heads to Harry's office. Clock in reception reads 8:49 a.m. Norma bundles up, as Heidi enters with a stack of donut boxes. Heidi scurries through doors. Thunder rumbles. Heidi soaked, her mascara running from the rain. Heidi, annoyed, deposits four donut boxes with rain droplets on Lucy's counter. Lucy smiles at the dour Heidi. Heidi turns to exit, and Norma stops her, removing a handkerchief and wiping Heidi's face of black streaks. HEIDI: "You not like others, Norma. You good woman." NORMA: "Thanks, Heidi." HEIDI: "I'll get car started." Norma hands Heidi the keys. Norma holds door open and watches Heidi exit. Norma walks to Lucy's counter. No donuts. No Lucy. Norma looks into Lucy's cubicle. NORMA: "Lucy?" LUCY: "Norma?" Norma startles as Lucy already has exited her cubical, placed one box of donuts in the coffee station, holds other three boxes, and is standing next to Norma. LUCY: "Norma? What can I do for you?" NORMA: "Sarah Palmer didn't answer her door for Meals-on-Wheels this morning. She's not answering the phone either, and I don't..." Lucy balances 3 boxes and touches her earpiece. LUCY: "Sheriff Brennan, welfare check on Sarah Palmer." Lucy moves to coffee station alcove. Norma follows. NORMA: "He won't be able to get in, sometimes Sarah puts a wedge by the door. I have a key. But the door won't budge." Lucy carefully puts the 3 boxes on top of the refrigerator. LUCY: "Emergency entry may be required." Lucy reenters her cubical. Lucy adjusts buttons on her dispatch receiver. Radio whine and tuning, distorted. Lucy touches her earpiece. ANDY (VO): "Cop** Lu**, I'm on my way. E*A fi** min***s." NORMA: "Thanks, Lucy." Thunder reverberates far outside. Norma covers up in coat. NORMA: "Lord, Lucy. Lord, it's frightful out there." LUCY: "Norma, I would love to chat, but this is peak 9 a.m. inquiries ... copy that ... copy Norma. I mean Yes, Norma. Yes, ten a.m. Hold please. You got it. Hello, Sheriff's Department. Andy? What's... Why... Why are you using your cell phone? ... Copy. ... Yes, this is Lucy. I told you, Placide, you cannot call the Sheriff's Office for animal related disturbances unless malfeasance has taken place, I have to hang up on you now, and will do so in the future, instead of informing you ahead of time like now. Call Animal Control. Albert, on. So like I was saying, Norma, this storm, plus 9 a.m. traffic, if I put it on a pie chart, it would be a big slice. Thank you." Norma nods. LUCY: "Sheriff's Department, this is Lucy. ... May I have your name? ... Well, I can log it as anonymous, but that does not release you from culpability or responsibility. Miss? I'm sorry, I can't understand your voice. Stay on the line." As Norma opens door, lightning strikes in near distance, lighting up Heidi and the Double R's cherry red Highlander. Although the engine hums and steam rises from the hood, Heidi is not seated in the driver seat, but, seated in the passenger seat, she stares forward, blank. Even when close lightning white-outs our view, crashing nearby. Norma jumps. BOOM. Thunder CRACKS. Norma grabs the shaking glass of the doors. Heidi stares. Unblinking.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E8: ACT ONE

EXT. SHERIFF'S STATION & FRONT SIDEWALK - LATER - DAY - ESTABLISHING

Although still threatening, clouds loom dark, but rain falls only in isolated drizzle. A red breasted robin on the wet sidewalk flicks its head between a lose strand of red reflective slashed Twin Peaks Sheriff's Department tape and a dead worm coiled around two green needles of douglas fir. It chooses the worm, but continues to flick its head at the tape and its own reflection.

INT. SHERIFF'S STATION - HARRY'S OFFICE - DAY

Thunder storm rumbling outside. Hawk approaches Harry, who stares out window into the drenched day. Hawk stares out window. We watch their reflections. Throughout scene, we slowly leave the two, toward the open door of Harry's Office. HARRY: "Red breasted robin." HAWK: "Just wanted to check on you, Sheriff." HARRY: "I'm fine, Hawk, what's up?" HAWK: "Thinking about Josie?" HARRY: "What are you, Agent Cooper now?" HAWK: "A trick he taught me. A good law enforcement officer learns and adapts." HARRY: "Law of the woods?" HAWK: "Not exactly, but you're getting closer." HARRY: "What did you need, Hawk?" Hawk pats Harry's shoulder. HAWK: "That's _my_ line. What do _you_ need, Harry?" Harry gestures to papers on his desk, still staring out window. HARRY: "This embryo business. The documents were sealed for 25 years, so anyone under 18 years of age are still sealed. Even those two new twins of Laura in town." HAWK: "Aurora and Lela Flying Eagle?" HARRY: "Yeah, the Flying Eagles are sealed for another year." HAWK: "What's the count?" HARRY: "You're not going to believe this. I don't want to. Laura and Maddy, 42 years ago. Those two girls in town, 17 years ago, and eight more still sealed. As far as we know, no other sisters, but it's possible Laura has eight more sisters." We leave the two and back out of the office, down the hall to:

INT. CONFERENCE ROOM - CONTINUOUS - DAY (CGI)

As we enter conference room, Cooper seems to stare at us. Cooper closes door. Albert paces, chewing on his knuckle. Sam sits before 3 laptops next to strange monitoring equipment, including a tablet, flat on the table, showing a large digital compass, fluctuating slightly. Cooper smiles. Sam nods. Albert comports himself and straightens his tie. Cooper smiles. ALBERT: "So let me get this straight. You, Cooper, will have a dream, and in that dream, I get shot in the head. TODAY. Okay, nice lead in, the locals are restless, bit severe. However, in said future dream, you, Cooper, have some knowledge of when said murder will occur, at which time, you will have more knowledge of then, now, and when? ... which is somehow happening in both directions of spacetime itself. Peachy. Not just spacetime, but the all of everything?" Cooper nods, smiles, thumbs up. Albert ponders. ALBERT: "Now here's what I see:" Albert paces the room, pointing up with each number: ALBERT: "One. You suffer from delusion: megalomaniacal, schizomaniacal, and a few more 'maniacals' they don't have a name for. Two. Let's get all the townsfolk together, build us a makeshift dohickey or another, down by da water, ways down under dere, dark as can be, with critters and crawlies. Three. Keep me informed. Four. Don't speak. Five. I hope you're correct on this one, Coop, so let's get to work." Albert smiles. Cooper moves to Sam and monitors. ALBERT: "Six, and most importantly, you are relieved of all duty immediately, pending investigation and psychological evaluation, at Twin Peaks! Greatest! Sanitarium!" COOPER: "What's happening, Sam?" Sam types on laptops. ALBERT: "Opened on January 1, 2001. Construction and property acquisition by out-of-court settlement. Plaintiffs: Palmers, Milfords, Renaults, all those who claim hurt by the Hornes and Martells dirty deeds and secrets." Albert withdraws a handkerchief and dabs his eye. Compass fluctuates. SAM: "It!" Cooper looks to Sam. ALBERT: "Eight. None of this is real, so I need not worry. Never the best answer." COOPER: "It?" Compass points not north, but to Albert. ALBERT: "Nine. And this is a good one. I like this one. It has to do with a clock striking 3, 6, 9, or 12, but I thought it gauche to mention until now." SAM "'It' is happening again!" ALBERT: "Ten. A wise man once taught me to think of all repercussions of your actions, and so act. So, I will definitely have the fish ... if it's _not_ local." COOPER: "Albert, are you okay?" ALBERT: "Eleven, it was an honor to serve with you gentlemen." COOPER: "Likewise!" SAM: "An honor." Cooper extends hand. SAM: "Don't touch him!" Compass points to clock. ALBERT: "It's the eighth day. Twelve! It's three o'clock!" FREEZE FRAME. Strobe flash. END FREEZE FRAME. ALBERT: "Well, that was fun. Okay, Cooper, let's test your theory. Location, time, witnesses, perpetrator, appearance-" Cooper looks up from laptops and holds up his salute. COOPER: "Albert, you are dressed as a female nurse. It has something to do with the One Armed Man. You enter the dark sanitarium, demand access to Phillip Michael Gerard's room on the charge to commit murder, fraud, conspiracy. Your voice sounds odd. It is an absolutely strange disguise."

INT. SANITARIUM - GERARD'S ROOM - COOPER'S VISION - NIGHT

In Cooper's vision, Albert and Gerard's lips move with Cooper's Voice Overs. Show Cooper's vision. COOPER (VO): "Gerard lies asleep in the dark room. Albert approaches, dressed as a female nurse: Here is your conversation, word for word. Nurse Albert said, 'Phillip Michael Gerard!?' Phillip startled awake, looking around. Phillip said, 'What!? Yes? I was asleep! Who are you!?' I then saw the farmer's scythe, its blade on the ground, which nurse Albert hid behind her back. Phillip yelled, 'Can't a body rest!?' I then watched Phillip get more agitated, pulling at his restraints. Phillip then said something strange, odd to my ear, he said, 'There's a dozen angry at you.' I then heard Bob whisper, 'Cooper.' Phillip then said 'Bob?' Philip looked around the room. Then in my vision, Philip seemed to look at me, rather than Nurse Albert, and say, 'Cooper. Always in the wrong place at the right time.' Phillip relaxed, stared at the ceiling, and smiling, said, 'I can smell you, Cooper! And I can smell Bob!' I then heard Bob whisper 'Mike?' Then, someone with a bloody-bandaged or red silk tied hand aims an old army Colt revolver to the back of nurse Albert's head and fires. I then heard Phillip say-"

BACK TO HARRY'S OFFICE

Lucy bursts in. Albert uncharacteristically jumps. LUCY: "Andrew keeps telling me to definitely _not_ report this stuff, but to definitely report that stuff, but I only said it once, you know (whispers) 'there's something wrong with the mincemeat pie with venison at the Double R.' But Waldo kept saying 'mincemeat,' and I honestly don't remember ever saying that to him. Anyways, you have to repeat things to Waldo because he just won't listen most the time. It's infuriating. And he says 'infuriating' just to make me angry. For example, Nicky and I had lunch the other day, and Waldo never said one word about the volcano pie! I repeated it a hundred times. Volcano, volcano, volcano! And I kept on telling him to behave, because like I say, he just don't listen, like Gordon. You know, but mean, not nice like Gordon. Then he told _me_ to 'behave!'" ALBERT: "Where's all this headed, Goldilocks?" LUCY: "That's just it. The Double R. Judy. We were talking about Andy's sperm, or lack there of, and Judy said she had many cases of sterility who wanted to adopt. She said you'd be surprised. That envelope about Sarah's babies, it came from her I'm sure. Then Judy said this is more like a haunting, all the bad stuff in town, so I asked if she meant like all the trouble last Halloween, and Judy said no, and I said I hate Halloween, especially last Halloween, 'The Horne Haunted House Presents,' _yikes,_ and Judy-" COOPER: "I'm not going to talk about Judy! In fact, we're not going to talk about Judy at all! We're going to keep her out of this!" Lucy offended. LUCY: "Okay. Ooo. Gosh. I told Waldo I wasn't going to say his favorite word, but, shut up, Agent Cooper!" Cooper realizes. He grabs Lucy. COOPER: "Lucy, you may have just solved a mystery, no doubt through your meticulous powers of memory and observation! Indeed! Aces!" Lucy confused. LUCY: "But see, Agent Cooper, what was this stuff, and what was that stuff?" Cooper beams, thumbs up. Lucy shakes her head. LUCY: "Like the Log Lady says, 'Men!' But she also told me once, when the Log was sleeping, that 'Men are made of wood,' and I said like toy soldiers? And she said, 'No. Like trees.' I liked what I said better. But anyway, I asked her what are women made of, and then she said, 'stone,' and I said, like statues? And she said, 'No. Like pitch.'" Lucy shrugs and exits. ALBERT: "Okay, what was that?" Cooper stares at Albert, waiting. Albert thinks. Cooper smiles. ALBERT: "Wait, are you saying that Phillip Michael Gerard, the One Armed Man, said 'I'm not going to talk about Judy! In fact, we're not going to talk about Judy at all! We're going to keep her out of this! ?'" Cooper nods. COOPER: "Agent Phillip Jeffries said it then, Phillip Michael Gerard will say it in the future, we have said it now." Albert wipes his forehead. ALBERT: "Cooper ... Cooper. Cooper, I feel funny." COOPER: "I've gotten used to it after twenty-five years. And chin up, Albert, you are funny." Cooper grins big, thumbs up, then immediately snaps to music. COOPER: "Judy." More snapping. Sam taps the tablet. Compass points north. Where Cooper snaps.

EXT. DOUBLE R CAFÉ - AT DANIEL'S CAR - DAY

Light rain falls on a tan 2014 Chrysler 300 with tinted windows. Lightning flashes.

INT. CHRYSLER 300

The collar of his trench coat pulled awkwardly over his head, Daniel leans in the driver's window of car. Thunder booms. Aurora in metallic silver tresses, sits in the driver seat examining the dash's gauges. Lela in metallic gold locks in back seat looking at her own reflection in her hair. DANIEL: "Now we got a big order this time, sweeties, so uncle Daniel might be some time, you know waiting, hearing folks condolences and the likes, well, I might be a spell. Why, I just might be more than a spell." Daniel grins ear to ear. LELA: "Just go." DANIEL: "Respectful or else." Daniel leaves. Aurora rolls up window. Lela leans forward and Aurora turns to Lela, then they both stare at Daniel enter the Double R. Passenger door opens. The twins startle. A veiled lady in black gets in. LELA: "Hey!?" Veiled Lady shakes her umbrella. AURORA: "Yeah!?" Veiled lady closes door. VEILED LADY: "Hey! Yeah!" Veiled Lady's voice parrots theirs.

S3:E8: ACT TWO

EXT. PALMER HOUSE - LATER - DAY

The rain gutters at the base of the white colonial gurgle water, flooding the tulip bed of fronds, looking like a seaweed bed, undulating under the course froth. Two Sheriff's cruisers and Cooper's Q5 parked in driveway and on street. We see Andy in rain slicker, outside, watching the seaweed bed.

INT. PALMER HOUSE - SARAH'S BATHROOM & UPSTAIRS HALLWAY - LATER - DAY

Laura's room at one end of hallway. Sarah's bathroom at other end. Wind howls outside. Rain hits windows hard. Thunder. Hawk, Harry, and Cooper stand outside the bathroom, staring in. The floor is covered with shattered florescent tube shards. HAWK: "All doors and windows locked. Except for the broken glass, no signs of a struggle. The glass doesn't look crushed into the carpet. I don't think anyone walked through it. No blood. Neighbors say they saw a bright light, probably the florescent tubes being shattered. The bat she used to destroy the television and the cuckoo clock were not used on the light, it is down stairs. She has wedges by all the doors, unmoved. Uneaten meal in dining room. Cigarette must have been lit then, cold coffee, full cup, both in kitchen." Cooper regards the florescent ballast plugs: severe burns. COOPER: "These are not consistent with simply smashing out the light. Electrical burns. Surge in electricity." Cooper looks in mirror for an inordinate time, smiles, turns. COOPER: "Margaret, why did you burn your Log?" Log Lady's reflection in mirror. LOG LADY: "That's personal. Wait till it lights up." Harry jumps. HARRY: "Margaret!? How the hell did you get in here!? ... Andy." Log Lady puts down Log on bathroom counter. Margaret turns to Harry. Margaret strokes his face. MARGARET: "Listen, Harry, my husband told me never to mention Josie. I'm sorry, Harry, I'm sorry. I never met Miss Packard, but I still don't like her. Nothing is as it seems with her. Pete knew that, but chose to ignore it. You will never wake up, Harry, if you run from your nightmares hoping for a dream, or walk through your nightmares believing they are a dream." Harry: "No nonsense, Margaret, do you know where Sarah Palmer is?" Margaret touches the thigh of her skirt, which covers her tattoo. Margaret picks up her log. LOG LADY: "The One Legged Woman." Perplexed, Cooper scratches his head.

EXT. TWIN PEAKS SKY & SHERIFF'S STATION - LATER - NIGHT

The moon's halo is blockaded by passing dark clouds, spilling shifting rain. Distant rumbles. Sporadic gusts. Douglas firs dancing.

INT. SHERIFF'S STATION - CONFERENCE ROOM - NIGHT

Hard rain pounds the roof outside in strange percussions. Cooper and Harry stand behind Albert, who sits at a lap top. Albert regards his watch. HARRY: "This beats me, Coop. I've issued an APB Missing Person on Sarah. No one saw anything. One minute she's there..." Cooper lifts his salute. COOPER: "Harry, what happened to Josie?" HARRY: "CIA took her. International Crimes. You know." ALBERT: "Get this, Coop, cause of death: heart stopped. Not a heart attack, leaving its telltale signs, but simple electrical stoppage." COOPER: "She was electrocuted?" ALBERT: "Also no, also not tasered to death, nor any trace of any chemical or pharmaceutical electrical inhibitor or accelerator. You see, she does have all the signs of someone whose entire bioelectric conductivity were shut down, as if that's even possible. Muscles don't work, brain death, heart stops." COOPER: "Electricity. Albert, I'm beginning to picture a scenario. It's strange. Harry, it involves our futures and our pasts. Josie may be one of the cornerstones." ALBERT: "Good luck, Coop. Josie's cause of death is a quandary that the boys in lab coats and bendable badges have wanted to know for two decades. What time is it?" Bobby opens door, breathing hard, wearing civies. Disheveled, soaked, mud from a rainy ride mottling his boots, jeans, and leather jacket. BOBBY: "Agent Cooper! Agent Cooper! I was riding all night!" Bobby slams his wet helmet on table, collapsing in chair. Bobby breathes. BOBBY: "I had a dream, but not a dream, I had a ... I don't know what. I checked in at Metaline Falls. I remember going into my room. And then I dreamed, right there. I only ever felt this way once, the night Maddy died at the roadhouse, then Sparkwood & 21, when you appeared to us, Agent Cooper. And Agent Cooper, I swear to f*ck, I was not a part of this! It goes like this:" ALBERT: "It's almost six, Coop, could we hurry this up?" COOPER: "You're fine Albert, you're not at the Asylum, all's well. All's swell." BOBBY: "It goes like this:"

INT. BOBBY'S DREAM - ONE EYED JACKS - AUDREY'S OFFICE - NIGHT (CGI)

Huge office with many couches. A joint is passed: Heidi. Bobby. Jerry. Heba. Jacoby. Nicky. Lela. Donna. We see the perfect legs of a woman in red, veiled in black, enter. Audrey? snaps her finger, takes joint, lifts veil, takes hit, blows out smoke, removes veil. AUDREY: "Let's get this over with." Show Bobby's description: BOBBY (VO): "She takes another hit and flicks the roach, bursting all the curtains ablaze, all of One Eyed Jacks, the forest, straight through to the Great Northern, down the hill, into town, like the mill but worse. All that heat causes the earth to boil and buckle. Lava torch shooting out in space, coming up from all of Twin Peaks everywhere all at once. The Peaks fall in. No more Twin Peaks. Damn? Right? Changing trajectory of this planet and sh*t. Then engulfing the earth, solar system, galaxy, and the whole f*cking universe burning away in flames." Bobby takes breath. BOBBY (VO): "Then, from its sick ashes, it burnt through space everywhere in time itself. But at its end. The greatest light, The Big Bang, Agent Cooper, but not just that, all the light the universe will, is, or has produced throughout the universe in all of time and space all at once. Whoa. Then I was back with Audrey."

BACK TO CONFERENCE ROOM

Bobby exhilarated. Albert incredulous. Cooper fascinated. Harry intrigued but skeptical. BOBBY: "Then it's like I wake up in Audrey's office again."

BACK TO DREAM OFFICE

Bobby exhales a monster hit, coughs, stares at joint. AUDREY: "Three naughty doctors, and one nasty nurse, and now, let's talk (points to Heidi) Pies. (to Bobby) Money. (Jerry) Documents. (Heba) Indemnity. (Jacoby) Memorabilia. (Nicky) Inheritance. (Lela) Residuals. (Donna) And, yes, James, my dear." JERRY: "Tell them what you want, Audrey." AUDREY: "I want Agent Cooper." BOBBY (VO): "She smiles and twirls on those perfect gams."

BACK TO CONFERENCE ROOM (CGI)

Bobby breathing hard. HARRY: "That's some story, Bobby. Sounds awful incriminating." ALBERT: "Wow, Bob, Wow." Cooper looks at Albert. ALBERT: "If you will excuse us. And Briggs. We know about the collar." Bobby shrugs, exits. COOPER: "Why would Audrey pretend to be the One Legged Woman?" ALBERT: "Patch the recording through, Lucy." Albert listens. HARRY: "Cooper, any of that make sense to you?" COOPER: "Bobby Briggs, I imagine, either participated in such a curious and illegal deception, is truly dreaming, or is attempting to cover or obfuscate his and or her actions." ALBERT: "That was Benjamin Horne, and I quote. 'Oh, Audrey's fine, one of her little games, she arrived back last night. She thought this was the best, to keep a low profile, spring this ruse, as necessary in these dark times, to keep her whereabouts unknown for a day or two.' End quote." Cooper stares at Albert. COOPER: "Albert, dreams and visions do not come with a guide. In my vision, the Log Lady reappeared at the town hall, except this time, she carried an owl, and snapped its neck. I believe that symbolic energy caused the animals to react. Animals are often times sensitive to events that confound mere humans. The wounds were self inflicted. Just as a person under stress attempts suicide or self-mutilates, such as the case of Annabelle Blackburn ... Annie. The Asylum, Albert! I must ask the One Armed Man who the One Legged Woman is. I'm drifting again, Albert..." ALBERT: "I noticed. Well, Coop, I can think of several Federal Laws Miss Audrey Thorn-in-our-side has committed, let alone local ... and f*ck! Well, Coop, it's six..." FREEZE FRAME. Single strobe flash. END FREEZE FRAME. JUMP TO TWO HOURS LATER. ALBERT: "...O'clock. Eight o'clock." Albert stands in lab coat. Cooper in medical gown. Harry gone. Sam now in room, gloved in lab coat, adds blood draw ampule to case. ALBERT: "Okay, Coop, I'm sure Hayward would say 'your fit as a fiddle.' In this case, a Stradivarius. I didn't find any scar or tattoo on you other than the ones already in your file. You can put your clothes back on." COOPER: "It should be here by now. Only Major Briggs, Margaret, and myself have been to the White Lodge. Tonight's the night." ALBERT: "You don't have any visible scar or tattoo." COOPER: "Then shave my head, Albert!" ALBERT: "Somehow scalping you makes sense, but how about something less primitive?" Sam massages in some chemical gel into Cooper's hair, making him look all punk-haired and wild looking. Sam holds a powerful UV light over Cooper's head. COOPER: "Luminol?" SAM: "Not quite. My God, there it is!" Glowing strangely purple, the same tattoo symbol as the Log Lady, on Cooper's scalp beneath his hair. His scar is angled 120 degrees to Margaret's. SAM: "A perfect match to..." Sam lifts paper showing Log Lady's tattoo. SAM: "To Margaret Lanterman's tattoo." ALBERT: "How does this plug the hole in my head when I get plugged? In fifty-five minutes." Cooper pats both of Albert's shoulders. COOPER: "All is good, Albert."

EXT. HORNE WOODS BENEATH WATERFALL - NIGHT (CGI)

Donna and James watch the waterfall, beneath umbrella double dappled in waterfall mist and rain droplets. Vortices of mist coil and uncoil, liocnu dna lioc. Donna and James sway, holding hands, staring out into the street light lit churning base of twisting sprays to the bright lights of the Observation Deck far above. As Donna turns to James, Lauralike enters. JAMES: "It's true. Wow!" James extends a hand. JAMES: "I'm James, this is Donna." James smiles, enamored. Lauralike shakes James' hand. Donna stares back and forth between the smiling two. Lauralike extends a hand toward Donna. Donna pulls James closer. DONNA: "Which one are you?" Lauralike lowers her arm and snickers. James grins. Donna elbows James, he stops. LAURALIKE: "We're all the same." She smiles, bites her lip. LAURALIKE: "I'll see you, tomorrow, James. Uncle Danny says I shouldn't be out alone past nine. Goodbye, James." Donna gives a surly wave goodbye. DONNA: "Bye-bye then." Lauralike walks down path. JAMES: "Goodbye Laura." Donna glares, crosses her arms. James watches Lauralike leave, smiling. Donna jerks him around. DONNA: "James!" James looks down embarrassed, then up impish. JAMES (whispered): "That was weird." Donna stares at James, who smiles. Donna turns back to waterfall. James' expression changes to concern. JAMES: "Donna, even if that was Laura, I don't love her. I love you." Donna holds her arm. She turns to James. Her face runs with precipitation perhaps tears. He lifts her face to his. JAMES: "I love you." He kisses her. Their eyes closed, the umbrella becomes tipped oddly, sprinkling them in droplets. They turn in the kiss. The falls turn in the twist. The light sparkles in the mist. Donna drags her starry eyes open, which give way to alarm. She pushes James off the kiss and out of the embrace, and turns him. He's reeling. Donna hops. Her face, a weeping smile, clutching both her other arm and James' arm. Wide-eyed, they stare at the unmistakable image of Laura in the mist, composed of falling droplets and sparkles, 'Lauramist.' Lauramist smiles and dances like Audrey at the Double R a;; those years ago. She smiles with love at Donna. Donna equivocating entranced scared intrigued loving weeping. James is wide-eyed astonished. JAMES: "Laura!?" The smiling Laura bites her lip, nods sheepishly, without a sound, snickers, holds it, bites lip, fades away as she holds her hands in the 'meanwhile' pose and then moves lower hand to her arm, mirroring Donna's pose. Lauramist fades to mist. DONNA: "Do you see that!?" JAMES: "Laura? Laura ... Laura, yeah, that was her." DONNA: "No, James, something's moving under the falls." JAMES: "Weird. Too damn weird. This is weird. What is that? Is that an animal? Are they carrying something? This is so damn weird!"

EXT. GREAT NORTHERN & OBSERVATION DECK - NIGHT

The pouring brink of the falls. From above the Observation Deck, we see guests under umbrellas entering and exiting the main doors to the expansive expensive resort. Multiple security cameras turn. Camera lens glints.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Bobby, grinning broad, cleaned up in silk business suit, has his feet up on Ben's desk, smoking a cigar. Ben munches a celery stalk. Ben stands at window, looking out into the rainy night. Ben puts his hands behind himself. BEN: "And how are things with Pink Sweat? BOBBY: "Great, Ben! 400 participants, 1309 cameras, fifty thousand hits." BEN: "Let me tell you what happened at the Sheriff's Department, this morning, while you were off on several wild goose chases. Three wild goose chases, son. Three." FADE TO:

BEN'S FLASHBACK TO INT. SHERIFF'S STATION - HARRY'S OFFICE - DAY

Ben stands in the office threshold. Harry hands the unfolded letter from James' boot to Ben. Within the howling winds, in lulls, we hear earlier conversation from morning, happening down the hall, but only in strange distant echoes. HEIDI (OS): "...car started..." HARRY: "Guess this belongs to you. Not sure what all the fuss is about." Ben regards the letter, smiles. BEN: "To my dear Son-in-Law, Robert Briggs." NORMA (OS): "...Lucy?..." Ben smiles, taps letter, sits. BEN: "It is times like these that a Patron must take full inventory of his assets both financial and familial." LUCY (OS): "...Norma?..." Ben clears his throat. NORMA (OS): "...Sarah Palmer..." BEN: "It is with great aplomb that I fully welcome you into the Horne Family, with all the rights and responsibilities I would show my own son." Ben straightens the letter. NORMA (OS): "...I have a key..." BEN: "You shall have full ownership of the agreed upon assets, in perpetuity, as an honorarium to your bravery, and to your rightful inheritance, immediately and forthwith in perpetuity;" LUCY (OS): "...Emergency..." Ben turns. Ben: "And shall indemnify you against any lien against said and sole property. And kudos, son, kudos. Yours sincerely, your father, Benjamin Horne, Horne Industries." Ben stares closer to the letter. Harry stares out window. ANDY (VO): "...E*A fi** min***s..." Ben frowns slightly. NORMA (OS): "...Lord, Lucy..." BEN: "P.S.: And as for your rather recent trouble with Shelly Johnson and her husband, my legal team is at your constant disposal." Ben lowers the letter and smiles. He stands, carefully folds the letter, pockets it to lapel, taps his lapel three times. BEN: "Harry, do you know how a general wins a war?" HARRY: "I'm an Army Man, so I have some idea." BEN: "Good! Excelsior! The best generals throughout history, are those that think ahead, plan ahead, and dream ahead, but not necessarily those who charge ahead." LUCY (OS): "...9 a.m..." HARRY: "Suppose that's true." Ben turns, removes celery stalk, chomps. He raises the stalk like a pen or baton. LUCY (OS): "...Call Animal Control..." BEN: "Catherine is beyond guilty of all this shameful Laura business. But Harry, evidence, evidence, evidence. Please tell me you won't charge in until you have solid evidence in all directions, because it would hurt my soul were the enemy to escape our clutches." Clock is seconds from nine o'clock a.m. BOOM. Thunder CRACKS. HARRY: "Sh*t! ... Good thing Heidi wasn't out in that!" Heidi stares. Unblinking.

INT. CONFERENCE ROOM - NIGHT

Albert, Sam, and Cooper watch clock, all three in suits. In a waste paper basket, two pairs of latex gloves above medical wrappers. Clock is seconds from 9:00 p.m. At precisely nine, lights go out, DARK FREEZE FRAME. Single strobe flash. END DARK FREEZE FRAME for Emergency lights beaming. ALBERT: "Coop!"

EXT. WOODS - ELECTRICAL TRANSFORMER STATION - CONCURRENT - NIGHT - BLACKOUT (CGI)

Transformer explodes. Huge cascading avalanche of electric explosions. In each sizzling avalanche: a Laura made of sparks, 'Lauraspark,' the same as Sparkwood & 21 vision. Standing at a distance, we see Catherine from behind, but never her face. CATHERINE (VO): "Why have you brought me here? What's the significance of this? Is this thing making me see this, or is this a trick!? Speak! You beast! Speak!" Catherine lifts her cell phone. CATHERINE (VO): "I want all the boys on high alert." She clicks a button. Lauraspark forms 'meanwhile' pose. CATHERINE (VO): "Lucy, dear, the power's out here-" LUCY (VO): "Crews are working on it, emergencies only. Stay on the line for automated information entry. Goodbye." CATHERINE (VO): "Lu-"

EXT. MAJOR BRIGGS HOUSE ROOF - CONCURRENT - NIGHT - BLACKING OUT (CGI)

Garland with bizarre binoculars, already sitting on roof's pinnacle, as blackout spreads across Twin Peaks. Garland touches his tattoo.

POV. GARLAND'S BINOCULARS OF EXT. TWIN PEAKS - NIGHT (CGI)

Within a 3D 360° overlay of Twin Peaks: Heat signatures of humans hiding or stopping or running. Digital print on building names, map overlay. Live Google Earth showing blackout. Reported aurora borealis sightings. Targets zooming to heat signatures of people with cell phones. Cell phones lighting up. And underneath the earth, EON's High Energy Collider, represented as a subterranean complex beneath Twin Peaks, Garland's house in its center, EON about seven levels below the house. During this, Garland narrates. GARLAND (VO): "Shut down HEC." Subterranean representation disappears. GARLAND (VO): "Things are amiss in Twin Peaks. Electricity. Fire and light. Yet a different fire burns within me, Agent Cooper. Benjamin Horne refers to my son as _his_ son, something profoundly troubling to a disciplined military man such as myself, concerning all things in ones genetic circle, or family, if you will. Benjamin is indeed my brother-in-law. Robert is, I might say, as deeply troubled as he has always been, loving beauty and opportunity, but paralyzed in desire and folly. And cigarettes. ... However, Agent Cooper, when you get this message, know that I believe my son's dream, though he is yet to reveal its secrets to me, for I have a vast intuitive perspective on my son. But I must here confess my fascination with the Horne girl, my daughter-in-law, as well. Such outré pheremonal traits. I know my son has been touched by the mysterious side. Thrice I felt it. The night of Bobby's dream, the night we all saw Laura at Sparkwood and 21, and the night of Maddy's death. You were there, at the Roadhouse with Margaret and my son Robert, so many years ago. Margaret ate peanuts voraciously, God only knows what she ate that night at the Double R, when first we traveled, but I digress. And that night at the Double R, Donna Hayward, the one who hurts the most. You were also there at Sparkwood and 21. Laura, You, myself, my son, his ex-wife, her husband, and his highschool sweetheart, Donna Hayward."

S3:E8: ACT THREE

EXT. SHERIFF'S STATION - NIGHT - BLACKOUT

Emergency lights barely illuminate 'TWIN PEAKS' 'SHERIFF'S DEPARTMENT.' Hawk rushes to door, using key to override doorlock. Security keypad red, flashing: 'PLEASE STAND BY'.

INT. SHERIFF'S STATION RECEPTION - NIGHT - BLACKOUT

Emergency lighting. Door unlocks. Hawk enters. HAWK: "War paint! Lucy, war paint." LUCY: "911, what's your emergency? Crews are working on it. 911, what's your emergency ... what's your address? First Responder services in route. Stay on the line for automated information entry. 911 what's your emergency? My gosh! Is anyone injured? In that case, remain there, it may be sometime before emergency crews get there. Stay on the line for automated information entry. (To Hawk) Mayor's Office, Sheriff." Hawk nods and taps his earpiece, and moves to waiting area.

INT. HAWK'S OFFICE - NIGHT - LATER - BLACKOUT

FBI lap tops glowing. Emergency lighting. Albert nervously twirls a pencil. Albert is hooked to electrodes and medical monitoring equipment, including a thermometric ear bud. Harry stares out windows, then looks to Albert. HARRY: "Shouldn't we be in a room with no windows?" Harry closes curtains. Cooper holds up his salute. COOPER: "Harry, Albert is in no danger." Sam monitors Albert's vitals, shaking his head. SAM: "Perhaps, but his BP is dangerously high." Hawk enters. HAWK: "That was the Mayor." COOPER: "The mayor's concerns are being met. We all must talk." HAWK: "With the mayor?" Cooper grins. COOPER: "No, us here, now." Cooper smiles. COOPER: "My vision of Albert's murder in a dream I have yet to have, the disappearance of Sarah Palmer, the blackout mimicking Windom Earle's treacherous crime. They are all related. Secrets, gentlemen. Laura. She's full of secrets. Leland's transcription of her diary onto her diary, he wanted to know her secrets. Laura's life started out with secrets. 12 secrets. 12 Embryos. Leland knew. Doc Hayward lied. People have been touched by Laura. By Laura's soul. Still trapped in the Black Lodge. Johnny, who sees Donna as Laura, knew of my return. Donna, her closest friend, removed the Black Lodge page from Sarah Palmer's house. Bobby, her boyfriend, may have started to dream. Major Briggs appearance is Bureau protected. All those at Sparkwood and 21." Cooper looks at the three's faces, Albert and Harry strain to follow his logic. HAWK: "Understood." COOPER: "Sparkwood and 21. I was there. With Laura. With James, Laura's love, and Shelly, his wife. Gentlemen, I must at this time offer no explanation as to why Shelly was included. Some link to Laura, perhaps other than Meals on Wheels. But I have to get my mind off Shelly." ALBERT: "Anyone notice this blackout we seem to be having? So, Laura is haunting the picnic goers at Sparkwood & 21?" COOPER: "Laura is not some dark ghost out to haunt the living exactly 25 years later. I believe she is here to help save, not haunt the living. But the evil of the Black Lodge has and will continue to influence those susceptible to its dark design, through the pain we cause to those we love and do not love, and the suffering we cause each other when our purpose is subterfuge, ill-will, all malcontent, often times when we turn to ourselves selfishly and are blind to the light possible in each person we meet. The light." ALBERT: "Blackout." Cooper smiles. COOPER: "Hawk, I can tell you this, unrelated to any Air Force Secret, Major Briggs might say, 'Spacetime, manipulated by these beings, is inimically linked to their mode of strange communication, a twisted path of past, present, and future, through fire and light. Electricity. End quote.'" Cooper smiles, and huddles up with the three. Cooper smiles. COOPER (whispers): "Albert, Harry, Hawk. Their purpose, these demons of the Black Lodge, can be only interpreted as consummate evil." Cooper breaks huddle. Cooper beams, arms on his hips. Cooper winks. COOPER: "I believe we are being protected, even as we speak, by that light." Cooper beams. HAWK: "The White Lodge." COOPER: "Yes, Hawk." Cooper holds Hawk's shoulder. SAM: "Wait, light and electricity are _protecting_ us?" ALBERT: "It's a blackout, Cooper! No electricity. No light." HARRY: "Yeah, Coop." COOPER: "No, gentlemen, electricity nor light is protecting us, but the something in that light." HARRY: "What's protecting us, Coop?" COOPER: "Somehow, I believe it to be Sarah Palmer." As Cooper turns, the walls of the conference room fade to:

INT. PALMER HOUSE - LIVING ROOM - NIGHT

Cooper and Laura sit across from each other, smiling. COOPER: "Hello, Laura." LAURA: "Hello, Agent Cooper. It's so nice to finally meet you for the first time." COOPER: "Likewise. We don't have much time." LAURA: "I have all the time in the universe, everywhere, all at once, forevermore." As Cooper turns, the walls of the Palmer house fade to:

BACK TO HAWK'S OFFICE

Cooper raises his salute. COOPER: "Mike and Bob fought each other. Evil often destroys itself from within." ALBERT: "We are in the middle of a blackout, Coop!" COOPER: "The blackout is harmless, a bright red glowing electric herring." ALBERT: "It's 11:30, p.m.!" COOPER: "Albert, as an employee of the federal government, you should have full knowledge of zero hundred hours! Am I understood!?" Albert looks steamed at Cooper. ALBERT: "You forgetting who's in charge!?" HARRY: "Josie's here." Others look at Harry. HAWK: "I am the Guide."

INT. BLACK LODGE

Or is this the Black Lodge? A circular room. 12-pointed chevrons emanating outward. Red curtains on fire. Green curtains scintillating with emerald light, inter-pleating. Fire trying to burn green curtains. Light trying to dissolve red curtains. Red curtains slowly turn counterclockwise, green curtains clockwise. Twelve owls, motionless, each in attack-strike flight, rotate above, counterclockwise. They circle around Laura, Annie, Audrey (asleep), Caroline, who all stand in black gowns, the three awake have their arms splayed back like wings, and rotate clockwise. They circle an eight-legged, eight-armed four-faced Cooper, each Cooper face with slightly different expression as each woman passes by. COOPERS: "Which one will you save, Cooper?" LAURA-ANNIE-CAROLINE: "Save me. Save me. Save me." COOPER (VO): "I am the Sender." GARLAND (VO): "I am the Signal." LOG LADY (VO): "I am the Translator." SARAH (VO): "I am the Receiver."

BACK TO HAWK'S OFFICE

Cooper's eyes gleam over his broad smile. COOPER: "Eureka, Albert! Everything is pointing toward Audrey, and Audrey must somehow point to the light, and the light is where we will find Sarah Palmer!" ALBERT: "Oh my God. He didn't say code, or encryption, or cipher! Blackout. Cooper! It's almost eleven fifty nine! TODAY! Cooper!" FREEZE FRAME. Caption: 'Midnight March 3.'

EXT. TWIN PEAKS FROM HORNE HILL - NIGHT - BLACKOUT (CGI)

Reporter with microphone. Caption above him blinks: 12:00. REPORTER: "This is Peter Milford, channel 3 action news, KTP3. Twin Peaks and a huge. Surrounding. Area. Are all blacked out!" A far away scream in the night. PETER: "I haven't seen this kind of panic since I reported on the Packard Saw Mill a quarter century ago. I have just been informed that Channel 3 may be going off the air soon. Tune into Milford Media & Horne Industries Pink-" Caption: "Previously recorded." Strange pixelation. REPEAT SCENE and FADE TO BLACK and MUTE SLOWLY DISTORTEDLY TO SILENCE: "This is Peter M*****d, channel 3 action news, ****. Twin Peaks and a huge surrounding area are ******* out!" A far away distorted scream in the night. PETER: "I have*'* **** this kind of panic ..." Caption: 'ClilC.' Click.


	9. Because I'm in Trouble

(Third Edit)

TWIN PEAKS: EPISODE 9: "Because I'm in trouble"

S3:E9: TEASER

EXT. SPACE (CGI)

Eleven gongs sound during: Stars across a strange elliptical galaxy. With each gong, the stars and galaxy ripple and warble as if under water, curtains and waves of water, except where an unrippled invisible silhouette stands: The Dweller on the Threshold, made only of stars. As The Dweller moves forward, the stars and worlds of the galaxy speed forward, 3 hundred thousand light years to the galaxy's center supermassive black hole, digesting a star, and ejecting monolithic jets of dazzling gamma ray bursts at its poles. Twelfth gong sounds.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E9: ACT ONE

INT. SHERIFF'S STATION - CONFERENCE ROOM - MORNING (CGI)

Albert, Cooper watch Sam at equipment. Gordon watches from wide screen display. GORDON (VO): "First off, this Sarah Palmer business." Cooper raises his salute. COOPER: "I know I say this until I'm blue in the mouth, but Gordon, trust me." GORDON (VO): "Enough said. Okay, what the hell went on last night, Albert?" ALBERT: "Cooper was wrong. Again. Unless, of course, today is yesterday, because 12 midnight is technically today. Nonetheless, Gordon, I didn't evaporate or grow twelve toes or get shot in the back of the head while crossdressing." GORDON (VO): "Good, Albert, good. You ready, Sam?" SAM: "Sir, these fluctuations are so minor as to either be negligible or negligent on my part for assigning significance to them." GORDON (VO): "Just the facts, Sam. I miss our teas and dot our eyes, Samuel. And the scones in Philadelphia decline steadily, especially in these waning hours." SAM: "I understand, Gordon." Gordon turns his head, looking at Cooper. SAM: "Recording interferometry. This is an exercise of the Federal Bureau of Investigation." Cooper looks at a compass. Cooper stands facing east. Cooper moves Albert so that he faces north, next to him. FLASH 100 SHOTS BELOW SIMULTANEOUSLY IN ONE SECOND. Each shot, every second, 100 seconds all at once. BACK TO PRESENT. Albert feints to Cooper's arms in a crumble. GORDON: "Well, that was quick, Coop, what happened?" SAM: "The thing is, Gordon. Gordon! The thing is, it wasn't quick!" FLASHBACK to this SCENE as Cooper moves Albert so that he faces north, next to him. The table, chairs, Sam's equipment, Sam, and Gordon's screen are thrust aside by invisible force. FLASHBACK to this SCENE as Cooper moves Albert so that he faces north, next to him. Furniture back in place. FLASH TO INT. BLACKlike LODGE. A circular room, curtained in red, chevronned floor in white and green. Albert faces Cooper, Phillip faces Chester. Faces almost deadpan. Albert's eyes are closed. COOPER: "Open your eyes, and you'll burst into light." Albert opens his eyes. ALBERT: "Cooper? You are agent Dale Cooper." DALE: "I feel like you should know him, but sometimes something bends which way?" Cooper smiles. PHILLIP: "We are going to talk about Judy! We will talk about her right now! She's all we all are going to talk about!" CHESTER: "Who's Judy?" Phillip clicks his fingers to the music. Cooper joins in. Then Chester in unison. CHESTER: "Oh! Judy." DALE: "Your name is Albert? Click, clickity click click. Click. No, with your hand. Your right hand." All four click in unison. ALBERT: "A smile! Bends Up. Why are you smiling, Dale?" CHESTER: "I feel like I know this, but sometimes my eyes bend shut, but sometimes my eyes bend open." PHILLIP: "I feel like I've forgotten her, but she, like me, sometimes bends her finger to Bob." Phillip points to Cooper with his unsnapping left arm. Albert's eyes roll back in his head. FLASHBACK TO SCENE AS: GORDON (VO): "Well, that was quick, Coop, what happened?" SAM: "The thing is, Gordon. Gordon! The thing is it wasn't quick!" Cooper sits Albert in chair, who slowly opens then closes his eyes. Cooper smiles big. COOPER: "Yes Sam, yes. Thank you for noticing. Good work!" GORDON (VO): "Is Rosenfield okay!?" Cooper at Albert's pulse with watch, thumbs up, smile. SAM: "Everything, excuse me, all vitals good, but I will note that the subject is in perfect REM sleep, but lacking any telltale rapid eye movement. He's fine, just sleeping. I think." GORDON: "He's asleep. Interesting, but not exactly too Philadelphia, these days." SAM: "I understand, Gordon." GORDON (VO): "Okay officers, proceed as normal, 12-13 and 14. Now, the blackout last night. Beginning at 9 p.m. and ending at 3 a.m. Timed, Coop. Lightning looks to be the cause, but don't rule out sophisticated perpetrators. Struck at 21:00 hours, zero seconds point zero seconds per seconds, nuclear clock, the British gals in Greenwich. Spelled 'green witch' but sounds like a sandwich. I could go for two about now. Aurora in your area under these conditions should have produced smaller lighting, and less of it. It hit the transformer. Precision shot. That's from the boys above, bobbing around, flying the little blue." (END 100 SECONDS here.)

INT. SHERIFF'S STATION - RECEPTION - LATER - MORNING

Lucy peeks out of reception. COOPER: "Lucy!" Lucy pokes her head back into reception. She sits back down, and looks at computer, smiles, screen flashing red. She taps it. It's solid green. REVERSE MOTION. Green. Taps. Red. Lucy Looks. Lucy smiles. FLASH BACK ONE MINUTE. Cooper and Albert walk toward Lucy at reception. ALBERT: "So your telling me, Coop, to begin to look everywhere, but right now, something is going to happen, and I will see it in two ways?" COOPER: "Yes, Albert." Cooper nods. COOPER: "Lucy!" Lucy pokes her head back into reception. James and Donna enter. They look at Cooper and Albert, and move to reception. Donna and James exchange strange glances. DONNA: "Remember, dear, we have to sign in." James looks at Agent Cooper. Donna signs in. She nudges James. He takes pen and signs. DONNA: "Lucy." Donna exhales. DONNA: "Phew! Hello, Lucy." LUCY: "Hello Miss Hayward. Hello Mr. Hurley." Donna turns to Cooper. As she moves to him, SLOWER MOTION Donna cries SILENTLY, and we MONTAGE OVERLAY STOCK SHOTS, as Donna relates her story, mimicking movements: Donna' crying at Roadhouse when Maddy died, Donna seeing Laura and Cooper at Sparkwood and 21, Donna holding her arm in high school, wailing. Donna finding the page of Laura's diary under ceiling fan, Donna and Mrs. Tremond and Grandson and garmonbozia, Donna looking at garmonbozia at Double R, Sarah seeing Laura in Donna's face long ago, Lauramist made of waterfall mist, the face of Laura in Johnny's fruit, the face of Lauralike. END OVERLAYS. James holds Donna as she weeps. COOPER: "Well, Albert, what do you think?" ALBERT: "Miss Hayward, while I might laud your motivations, I'm afraid I must question your actions." JAMES: "Audrey tricked us." COOPER: "Your own sister, Donna?"

EXT. SHERIFF'S STATION & TWIN PEAKS STREETS - LATER - MORNING

Lucy points at several people dressed strangely who parade down the street. LUCY: "Practice for the _Practice_ for the Fourth of July, Agent Rosenfield, in two days, this is a rehearsal, starting now, ending God knows when." Sam and Cooper join Lucy and Albert, with coffee, doughnuts, pienuts, boxed single slice pie, reading 'R²!' Toad passes by, waving hand ala parade wave, dressed as an enormous myna bird. TOAD: "Gobble, gobble, gobble." ALBERT: "Why is he dressed as a myna bird?" Lucy laughs. LUCY: "That's just it." She snickers. LUCY: "No one expects a myna bird!" She stops laughing. LUCY: "Or suspects a myna bird." ALBERT: "Why's he gobbling?" LUCY: "I told Andy no one expects a Toad to be a myna bird, let alone a turkey." ALBERT: "But why is he eating a bucket of chicken?" TOAD: "Cuckoo, cuckoo, cuckoo." Lucy just laughs, bending over, pointing at the Double R. Lucy exits, gasping. The current Miss Twin Peaks, with sash reading 'Miss Twin Peaks 2015' parades by. Then FBI interpolator Lil, her unmistakable red hair, immaculate, is dressed in a green multi-pleated dress, a parade sash of red roses. Six green roses form the letter 'T' and six white roses forming the letter 'P' on the sash. Star sapphires dangle at the ends of Lil's long spiral earrings. She runs forward, shuts her eyes, feels around as if blind, flailing blue gloves, all the while wearing a 'oooo!' look on her face and black-lipsticked lips, then looking around as if through 'binoculars' she forms with her hands. LIL: "You're my Mother's only daughter's sister's little stitch." Albert, Cooper, and Sam nod in unison. Lil snatches papers from her skirt pocket. She shows off her parade red lettered 'PERMIT' that her gloved finger points to violently. Lil smiles. Winks. Lingers a stare on Sam. Lil dances off. A trail of lumberjacks pass. Each with axe slung over one shoulder, a log slung over the other.

S3:E9: ACT TWO

INT. DOUBLE R CAFÉ - LATER - NOON

James looks at a piece of pie. It's a wedge, but is enveloped in crust, as if it was baked as a wedge, in a box for individual sale. JAMES: "What's this?" NORMA: "I call them Pie R Squared." JAMES: "I can't tell what flavor it is." ED: "It's an adventure, son." James digs in. JAMES: "Mmmm. It's blueberry and um, um ..." NORMA: "Thimbleberry. My sister, Annie, used to love them." JAMES: "Sister Annie." ED: "Yeah, son, once a nun, but now trapped up there, up there at the mental hospital. Both her and Nadine. It's just not good, Darling." JAMES: "Aunt Norma, how do you think a nun can end up there? Why can't God just, I mean, ain't being a sister, why doesn't God just stop it, or she's immune, or something?" NORMA: "We can't know, sweetie. Annie has unbelievable strength and faith. She's getting better every day. But you all remember that night with Margaret and half the FBI was in here?" JAMES: "Yeah?" NORMA: "I got the strangest feeling all the next day, thinking about Annie. And Cooper went to see her, that same day." Shelly comes to their table, fills their coffee. SHELLY: "What night was that?" James looks nervous. SHELLY: "You know James, I know. Lana Milford is representing me now, James, and I would sure appreciate it if you never showed your face in the Double R again." Ed, Norma, James stunned. Shelly's lips quiver a bit and she makes a hasty retreat. Norma excuses herself with a kiss for Ed, and goes to Shelly in back, who seems to weep. ED: "Love ain't easy, son, until you find the right one." JAMES: "Even then, it ain't easy." ED: "Then you have to be the right one, not just her."

EXT. HAYWARD HOUSE - LATER - DAY

Many cars parked in driveway.

INT. HAYWARD HOUSE - DAY

Multiple candles extinguished from previous nights blackout. Doc Hayward, arm in cast. Eileen, head bandaged. Gersten bandaged from bird scratches. Donna enters on crutches. DONNA: "I slipped on the rocks, Daddy, it's gonna be okay." DOC HAYWARD: "Guess with the blackout last night, your sister won't be joining us."

INT. SHERIFF'S STATION - ANGLE ON TELEVISION - DAY - SHOWING EXT. WOODS - NIGHT (CGI)

Two Lauralikes, one frocked in red, the other in black. They walk hand-in-hand, down a wooden path, each holding a burning torch. RED LAURALIKE: "Hi, 'PINK SWEAT' presents 'TWIN SPEAK' presents 'TWINK APES' or how to deal with boys." BLACK LAURALIKE: "Huh?" Robby enters, clean shaven, clean cut, presentable, flashlight, in business suit and hair in man bun. ROBBY: "Good evening, Ladies." BLACK LAURALIKE: "I'M GOING TO EAT YOUR SOUL!" Black Lauralike snarls and jumps like a cat at Robby. ROBBY: "Oh, dear!" Red Lauralike chokes, laughs, snorts, giggles, and runs through scene wrong direction, laughs, runs backwards, trips, falls in dirt laughing. Daniel enters. DANIEL: "Girls can be bad too. It's no laughing matter. Why all you kids should come to the gathering. I'm Doctor Dan, the Lawyer man, but now I'm Doctor Dan, the Preacher Man! I'll tell all you kids how to get the evil right outside of your life!" Daniel strikes a point upward. DANIEL: "And get the good all locked away for ever." Daniel clasps his hands to his heart. DANIEL: "Each one of you, that's right, you're all special, especially to me. Come on down to the biggest PINK SWEAT blowout yet! Thousands of cameras, everyone's a star, forever!" Daniel goes to Red Lauralike in dirt, who laughs even more. DANLEL: "Just watch this!" A strange, clear, synthesized VOICE for Daniel. A voice we shall call 'Danlel.' Synthesized and filtered as if through the measurable vibrations that rose petals make when striking warm human blood in digital ripples. We see the petals and pools and ripples. Caption: 'Pink Sweat Fan 4934l! Preacher Daniel's voice with your acoustic filter from your outstanding winning entry suggestion! You are a part of Twin Peaks and Pink Sweat and Twin Speak and Twink Apes, forevermoreoverthere!' Red Lauralike glows into Red Lauralight. Daniel grabs Red Lauralight, helps her up. Daniel smiles, Lauralight sniggles. DANLEL: "Listen, sweetie, these things are happening, they're real, and they're related. Let the good burn ye lest the evil consume thee!" Looking up to Daniel, Red Lauralight's expression changes from smirk to blank. Lauralight glows golds and reds. Her visage now enraptured as if within an enveloping vision. Albert clicks the screen off. Albert and Cooper stand by screen. ALBERT: "Can you believe this epitome of bad taste? Where's the warning: We'll do anything for a buck, or better, sell your soul for pennies, endless pennies, everywhere, every time, everyone!" COOPER: "Yes, Albert, this is the first day." ALBERT: "Of the rest of my afterlife?" COOPER: "No, Albert. You have touched the Black Lodge. Many times you have approached, but only once have you walked with me. I'll share with you a dream you will have." ALBERT: "Goody. Okay, fair enough, but if it involves a barnyard or a hay bale or a hayseed, leave me–." FADE TO Cooper's description of ALBERT'S FUTURE DREAM. COOPER (VO): "At night, you and I are walking through the burnt remains of Twin Peaks, not necessarily in the future, a strange place indeed. Smoke smoulders, flames far away, ash upon ash upon ash float like snow everywhere all at once midst fireflies of sparks dancing throughout every frightful direction. We look up, and those resplendent veils of aurora, like needles of ponderosa pine, are melting and falling and lighting our way in pleats of green." FADE BACK. ALBERT: "Then what happened?" COOPER: "That's just it, Albert. That's! What happened." ALBERT: "Until I have said dream, I'm-" COOPER: "Excuse me Albert, I am 1 minute late for meeting the Log Lady."

INT. GREAT NORTHERN - AUDREY'S OFFICE - LATER - LATE DAY (CGI)

Audrey stands elegantly attired in black evening gown and pearls. AUDREY: "Come in." Cooper, Margaret, Garland enter. On her desk, a long box looking to contain flowers. COOPER: "Audrey Horne, your leg is uninjured. You may be placed under arrest if you do not cooperate immediately. How did you accomplish this illusion?" Audrey opens the long box. Inside, a strange scintillating transparent flat jellyfishlike piece of cloth? GARLAND: "Ah, yes, of course, our "Vruv7. Air Force Stealth Technology, Agent Cooper, 'Virtual Reality Ultra Viral.' Indeed, all vision of all creatures exists by the absorption and reflection and interpretation of light." AUDREY: "Thanks Professor Briggs. I paid Juliette, in fact, Juliette has worked for both Daddy and Catherine. It was supposed to be fun, then Hawk shows up, and Juliette, she's batty, Agent Cooper, she still goes ahead with the roleplaying, and fires. They were blanks." Cooper shakes his head. COOPER: "Audrey." AUDREY: "Daddy got this squishy thing from Catherine. Catherine has the rest of it. I put it on my leg, and I became the One Legged Woman." Audrey takes the jelly like sheet and adheres it to her leg. The leg remains, but the jelly seems to disappear. AUDREY: "Look at my leg." Its perfect. Audrey runs her hands down one thigh. Cooper watches. As she reaches the knee, it opens up like a bullet wound, blood running. LOG LADY: "What the hell!" COOPER: "Audrey!" GARLAND: "It is meant to provide cover, Cooper, and in the event of capture, to mimic wounds and death." The wound closes up. AUDREY: "We met in Ghostwood, on the property border between Horne Industries and Martellcorps." COOPER: "Where did they exchange it, show us."

EXT. GHOSTWOOD FOREST - LATER - EARLY EVENING

Garland and Log Lady walk arm in arm, up a path in the early spring wet forest. Farther back, Cooper walks with Audrey. COOPER: "I have you for interference with a federal investigation." AUDREY: "I just had to get out of town. I didn't know Hawk would show up. I only saw my own doctors, I had to get out of town, I had to. Anyway, you'll never make that stick. I've got a hunch Juliette's alive in hiding. She's one for the woods." COOPER: "Why, Audrey, why?" Farther up the path. LOG LADY: "I don't know. It's just going to be different." GARLAND: "Indeed. Margaret, you and I are the fortunate ones. You see, we have had the luxury of knowing each other these past, good, years. Living right here midst these verdant climes and spectacular wildlife. Dale, however, as we know, was trapped in a dream. And our final guest, a dream trapped within her." Cooper catches up to Garland and Margaret, Audrey saunters behind. COOPER: "Major, how can my dreams and visions be false?" GARLAND: "The vision of Annie's death false? The vision of Albert's death false? If not real vision of the past present nor future, NOR a false vision, it must be a quantum vision of possibility. We are on a vision quest as we speak. Indeed, the hawks are flying this tremendous resplendent day. Did your vision of Albert run backwards?" Cooper beams. COOPER: "Yes, Garland, yes. What does it mean?" GARLAND: "And the first vision of Annie, the one you say you felt, but did not see, her decapitation." COOPER: "Backwards as well." GARLAND: "Yes, and the vision during your projection to the sanitarium, that night at the Double R?" COOPER: "It was forward, but seemed somehow fake, somehow synthesized, somehow-" GARLAND: "Backwards?" COOPER: "Yes! I find myself somehow clear headed. I would say I feel odd right now, but the opposite seems to be true." Cooper lingers. Log Lady and Garland continue on, as Audrey catches up. She sits on a log, pops out a compact and daubs her lips in the mirror. COOPER: "Audrey, Audrey, Audrey." AUDREY: "It's just a game I used to play with Johnny, I taught it to Laura and Donna. You pretend you're hurt, see how everyone reacts, reappear like hide-and-go-seek. Do you like this color on my lips?" Scarlet. COOPER: "This isn't a childhood game, Audrey!" AUDREY: "Of course it is, all of life's a game, for good or not, and I'm the queen." COOPER: "You endangered many lives. You bribed medical officials. How I wish I could believe your lies." AUDREY: "I paid Juliette, true. Not to desecrate Laura, I would have killed her myself if I knew what she did. I did it to fake my injury. I don't know anything about those filthy hoodlums, but I know that the Archbitch Catherine is guilty." COOPER: "How did you know about the One Legged Woman?" AUDREY: "I just heard you were looking for the One Legged Woman." COOPER: "No you did not just 'hear it!' Margaret, the Major, myself and Albert knew, and I would bet my life that none of those people ever mentioned it outside our confidence." AUDREY: "I have many spies, too, Agent Cooper. I just wanted to be your one legged woman, your woman of mystery, the apple in your eye, the smile in your coffee." COOPER: "Who, Audrey!?" They continue walking up the hill to Garland and Margaret, resting. AUDREY: "I was up to see Johnny..." She snaps her compact closed.

AUDREY'S FLASHBACK TO INT. TWIN PEAKS ASYLUM - DAY

In the day room, patients watch TV, play games, stare. Among them, Gerard and Annie. Gerard plays checkers with himself. In an office chair, he swings around to the other side of the table to jump a piece and crown a king! ROUNDTREE: "Why, Miss Horne! What a pleasant surprise! And immaculately cleansed of all that jewelry. I will get Johnny ready immediately, personally." Roundtree exits. Annie stands up and goes to Audrey. ANNIE: "Audrey?" AUDREY: "Yes, um?" ANNIE: "Annie Blackburn." Audrey's face drains. Annie smiles in empathy. ANNIE: "I know, yes, Annabelle Blackburn, the one Dale Cooper was in love with when he disappeared into the beyond I shall call it." AUDREY: "Okay..." ANNIE: "He saved me. Now you must save him. The Good Cooper is looking for someone. The evil Cooper is trying to get her alone." They both jump as: GERARD: "King me!" Annie marches straight up to Gerard. They stare at each other: MIKE & ANNIE (simultaneous): "(Fire & Light). Walk. With. Me." Gerard calms down, smiles. GERARD: "Thank you, sister, you're a blessing." He looks down to the board. GERARD: "Looks like its my move, if you'll excuse me. My pawn is in jeopardy." Annie walks back to Audrey. AUDREY: "Who is this woman he is looking for?" Annie makes a shh gesture. Annie makes sure Gerard is whipped around to other side of his checkers game, his back to them. Annie lifts one leg at the knee into her skirt, and mouths the words: ANNIE (mouthed): "One legged woman." We see Gerard, the two women in the distance over his shoulder. Gerard smiles, grows angry, calms, smiles, looks around scared. GERARD (whispered): "All for one, dnand one for all." He jumps four pieces, clattering the board and table with his assault. GERARD: "I said king me, bitch!" Annie marches up again and Nadine appears, halting Annie with an aggressive wrestling posture. NADINE: "Mike and I are in love!"

EXT. GHOSTWOOD FOREST (CGI) - TWILIGHT

Audrey stops. AUDREY: "Okay, somewhere about here." LOG LADY: "My log has something to show you, Miss Horne, but one day, my Log will not be there for you. Then is when you ask a question, but the log can hear you only now." GARLAND: "Through the brilliance of futures and pasts..." COOPER: "The genius longs to see..." LOG LADY: "One sings out between two worlds..." FLASH of light. SARAH: "Light, walk with me!" Behold! Sarah Palmer in front of a dazzling beaded light in star bursts of refracted diamondlike scintillation. As the light fades, we see Sarah is wearing the same sleeveless summer frock she wore when Laura was seven and dancing in the Mount Saint Helens ash. She stands tall, albeit with the steaks of two red tears. DALE: "My God! Sarah!" Sarah adjusts her hair. SARAH: "Who'd you expect?" MARGARET: "Thank God you're okay!" GARLAND: "Indeed, and are you okay? Your eyes..." Sarah smiles. SARAH: "I've seen worse." Cooper lifts the sleeve of Sarah's frock to reveal a tattoo matching the Log Lady's and Cooper's, angled 120 degrees to each of theirs. As the Log Lady, Cooper, and Garland hold Sarah's hands, we see Audrey, biting her lip, excited and overjoyed to tears, her eyes enraptured in Cooper.

S3:E9: ACT THREE

EXT. ASYLUM ROOF - NIGHT (CGI)

Four unlit graphic scales surround this view. Huge-eyed Areol giblet mutant tadpole embryo shrimp at roof's edge. Jumps. Splats into necrotic looking mincemeat gore bones offal chunks. Areol's face is split in twain about a foot apart. As she speaks, both halves talk. AREOL: "Who would have thought you could make mincemeat worse?" Areol's faces laugh. AREOL: "We do, each and every time! Just click any red link for out of this world deals on the best slice of pie throughout the known universe! The Double R!" A truck speeds by in an instant, further mutilating her. AREOL: "Told you so. You know it's a dream, because it's on TV." Screen lights up with graphic scales and captions: green 'Dream' red 'Nightmare' blue 'Dramatization' Yellow 'Other.' Percentages live stream in from social media and internet. Yellow 'Other' Splits to these Yellow 'Options: None of the Above, Real, Unreal, Join, Bad, Good, Great, Rate, Abstain, Gross, Ugly, Psychotic, Jump, Evil, Stupid, Dance, Commercial, Rotten, All of the above, Exit, Buy, Silly, More Options:' Scales stop, tallies stop spinning. Final tallies: 'Nightmare: 56% Dream: 12% Dramatization: 2% Other Total: 29% (Funny: 16%, Bad: 8% Join: 1% Gross: 1% Psychotic: 1%)'

INT. WHITE LODGE (CGI)

The Giant stands in the middle of four vine encrusted white marble thrones. The woods behind him in every direction are filled with douglas firs and sycamores and oaks and ash trees and ponderosa pine and throughout these trees, bands of auroral green satin pleats like ghosts disappearing in wisps of forest mist. The Giant smiles to himself. GIANT: "The One Legged Woman." Then the Giant puts his hands up, his fingers grow into snakelike branches of ever skyward douglas firs re-branching, as we move ever upward from the 'throne room' clearing. The four thrones glow in the middle of a clearing, surrounded by every kind of tree, leading up from there, the tiny thrones dazzle with light and sit at the bottom of vast conical valley, ever leading upward, trees more giant, gigantic sequoia and beyond to trees whose vast dimensions and interweaving branches begin to resemble branching blood vessels and dendrites in branches of wood wholly alive and growing like snakes intertwining with the Giant's tendrils that then bud then blossom then die then berry. Odd berries. Strange combinations merged: Apple raspberry. Peach strawberry. Unreal and bizarre and occasionally fractal. These strange berry colors melt into the arboreal weave as we travel faster upward. Until, traveling up so fast, this valley now kilometers deep, evolves to a speeding tunnel, blurring ever quicker, hundreds then thousands then millions of kilometers speed by, in a green and brown psychedelic hyper-blossoming budding berry bleeding blur, the thrones a single point of hyperbrilliant hyperlight, blazing through the snaking blurs which envelop our view.

INT. BLACK LODGE (CGI)

12 Black Lodger Dopplegangers: Mrs. Tremond, Caroline, Windom, Bob, Leland, One Armed Man, Man From Another Place, Maddy, Annie, Laura, Chester, Phillip all dance around a circular green formica table holding the jade owl ring. They syncopate in disturbing perfect unison to each other's movements, with clockwork jerks, except Windom. Windom's dance is birdlike, mocking. ALL but WINDOM (backwards speak): "Leo." WINDOM (backwards speak): "No, Leo! No, Leo! No, Leo!" Windom makes ticktock sounds: WINDOM (backwards speak): "Tck TCK Tck TCK Tck TCK." As everyone circles, suddenly, Leland is lifted up, in trance, and floats out of room. Roundtree floats in, takes Leland's spot in mimicry.

INT. 'NEITHER' LODGE (CGI)

Sarah vs Leland! In wedding attire. They float across from each other in outer space, a panel of glass dividing the entire universe, between them. Each of their reflections on the glass where the other floats, as we exchange views of Leland's reflection on Sarah then Sarah's reflection on Leland. LELAND (backwards speak): "Sarah, is your name Sarah?" SARAH: "Pfft! Leland. I'm back. I'm even farther back!" LELAND (backwards speak): "I feel like I know you, but sometimes my-" SARAH: "Shut up, Leland, you're finished." Leland stops. Sarah smiles. SARAH: "You know how I know? Because I control the horse, Leland." Leland back in trance, floats away.

INT. 'NETHER' LODGE (CGI)

The 100 shots in conference room earlier, displayed and stacked like sheets of clear celluloid. Traveling into and between these pages are tiny fractal gold robotic octopod-beetles fire-and-light-phasing critters, crawling in between the pages, through them, clustering and scattering around points of interest in the individual sheets like swarming phrenetic fireflies.

EXT. EASTER PARK AT GAZEBO - NIGHT

Caption: 'March 4.' Shelly walks to Donna and James. Someone watching through audio and video. SHELLY: "Just imagine this. My husband and Donna 'never married' Hayward." JAMES: "Listen, Shelly, it's not what you think." SHELLY: "Shut the f*ck up, I have friends. Friends right now. You are all going to explain this as having something to do with Laura. Okay, fine. I have a gun, FYI. I knew Laura." DONNA: "You barely knew her." SHELLY: "You're forgetting, Donna, I saw that Mrs. Tremond or Chalfont, or whatever that witch f*ck's name was. And her creepy little 'magic grandson'. The one with the cream corn, yeah that one. I also remember when Laura drove down the hill to see Harold the Wierdold. Laura was messed up. Harold, James, Bobby, Your Dad, Donna, your real Dad, Jacques Renault, that filthy f*ck Leo Vomit Jawwwwns'nnnnnnn, and of course, Bob. That's just a list off the top of my head. Laura was a slut, what do you expect!" Donna, especially James enraged. JAMES: "So help me, Shelly, YOU CAN HAVE YOUR divorce!" Shelly whistles. Joey and Audrey enter. JOEY: "Donna." SHELLY: "Just show you should all know, I mean just so you should all know Joey and I are in love, and we're going to get married!" AUDREY: "Why have you all dragged me out here? Oh, yes, that stupid letter of Daddy's." Audrey calls out to the woods. "Listen, Bobby Briggs, we were married long enough from me to know disappointment. It was, I emphasize 'was,' at best a business deal with an, only then, insane man, my father. We were not married at that time, therefore, the letter is a forgery. However, to make this work, we shall say, we are fortunate, Mother, Daddy, and of course, Johnny." MIKE: "Wayward Hayward." DONNA: "Go die, Mike." Mike and Bobby approach the four, both in uniform. BOBBY: "I always like to see where my suspects run." Enter Ronette. Ronette runs between people and hugs them, all bubbly. RONETTE: "High School Reunion Planning Committee! Live! 'One week we'll all wink with one SPIN TWEAK!' Come on gang, where's that school spirit! That Twin Peaks High? Nadine taught me this one. The 'Spin Tweak!'" Ronette does a weird twisted, slightly CGI tweaked hovering on her toes? She relieves tension in neck by popping her vertebrae wildly to the side. Ronette returns to the ground. Enter Aurora and Lela. They look at each other, grinning. AURORA: "And..." LELA: "Cut, that's a wrap, black the rest out."

INT SHERIFF'S STATION - NIGHT

Ronette enters station, arm in arm, with the Harvest Lady. LUCY: "They're here, Sheriff Truman." Harry emerges from around corner, signals them to join him, and they walk to INT. HARRY'S OFFICE. Harvest Lady lifts her veil. DENISE: "Hello, Harry, nice to see that smile again." HARRY: "Agent Denise-" DENISE: "Pulaski, married name." HARRY: "What? Wait. What? Why the corn stalks?" DENISE: "I'm under cover, Harry. Drugs, Harry, drugs. I'm like a street person, the cheerful sweet new semi homeless lady in town, but hardened on the streets. I've even been on Pink Sweat. Everyone seems to know me. I talk to everyone." HARRY: "And Ronette?" DENISE: "Ronette's my wife, Harry, Ronette's my wife. Don't worry, Harry, I don't wear her panties." Harry smiles awkwardly. DENISE: "Often. This was fun. And Harry, there is an overwhelming amount of marijuana in this town, both the Hornes and Martell sell it legally. Cocaine, always a problem everywhere, but quiet here in Twin Peaks. Meth. Yikes. We are getting so good at detecting it, its unreal. Okay, enough with the boring stuff, Harry." Denise stands. Ronette smiles. They kiss. RONETTE: "Tell the Good Cooper that his vision of me was false too, I remember him watching me jump, but I don't remember after everything fell in." HARRY: "Wow, Ronette, you need to talk to Cooper." Harry wakes up. HARRY: "You make a lovely couple, but how come nobody knows about this?" DENISE: "Because, I'm the Harvest Lady. Listen, the Log Lady knows things about things. Therefore, the Harvest Lady thinks about known things." HARRY: "Ronette, Denise, congratulations, again, and..." RONETTE: "Hi Harry!" HARRY: "Um, hi, Ronette, are you..." RONETTE: "Yes, Harry, I'm stoned, 24/7." HARRY: "Okay, you've stumped me. Aren't you two a mismatch?" Both the Harvest Lady and Ronette nod in unison. DENISE: "Only don't tell folks we're married, or it'll spoil the fun. The Harvest Lady smokes weed, Harry. But I prefer the DEA substitute edibles. We have tested so many delivery methods here, food born mostly, we were able to replicate local cuisine purveyors. Which brings me to the Double R Café, sole proprietor of 'DREAM ONWARD', 'supplying world winning famous edibles and incredibles with our whirlwind famous spinning delivery!'"

EXT. TWIN PEAKS STREETS AT TELEPHONE POLE - NIGHT

A soaked, then dried, curled poster stapled to the pole reads: 'FBI WANTED/AVIS DE RECHERCHE: JULIETTE ANABELLE RENAULT. Age/Âge: 63. Hair/cheveux: Grey/Gris. Eyes/Les Yeux: Blue/bleu. Physical characteristics/caractéistiques physiques: Kyphosis (hunchback/bossue). Contact Sheriff's Department/Contactez le Département du Shérif.'

INT./EXT. UNKNOWN - NIGHT (CGI)

In the blackness, shines tiny lights, then brighter, brighter until they shine forth and awaken the single corns of cream corn on a highway growing brighter with oncoming headlights ... squish! A single kernel takes up our entire view, bursts open to a thousand sloppy bloody tiny crawly fractaloid hatching corn larvae, who burst into a million tinier fractaloid pupae, who burst into a billion crawly dots, crawling all over everywhere, even the camera's POV, and as they crawl on the camera, each one causes a strange pixelation.

EXT. SPARKWOOD & 21 - NIGHT (CGI)

Close to a single hanging stop light. We hear the electrical hum and clicking as light changes from red directly to green to both red and green. We hear the screech of car tires. Light changes from red and green to all three red yellow and green. All three blink. In unison. Then in rapid succession: green yellow red, green yellow red, green yellow red.

INT SHERIFF'S STATION - NIGHT

Single flicker in florescent light. Albert looks frustrated, looking at a report. ALBERT: "All that evidence, both sets of evidence in trunks of Leo's and Juliette's trunks and no fingerprints! Neither person's prints on any item in either trunk. No fingerprints of any kind. None. The hair Andy recovered was Leo Johnson's." SAM: "If I can link any item in either car to the other car, we have conspiracy."

EXT. GREAT NORTHERN AND WATERFALL - NIGHT (CGI)

The water flows over the falls, shimmering and reflecting lightning in the far distance, the moon's crescent a particular shade of scarlet. The tumbling droplets shatter with red reflected flecks like bursting burning wood. Closer to one of the flecks, and FREEZE FRAME. Caption: 'Twin Peaks is currently experiencing electrical outages, please stay tuned, logged in, wired, sleeploaded, press LINK.' ANNOUNCER (MIKE and GERARD simultaneously): "Sorry about that, folks, unintentional. We're getting massive cyber interference here. Echoes. Wow. Robby, get in here! Wow. !ereh ni teg ,ybboR. Wow. And now back to your scheduled program." END FREEZE FRAME. REPEAT SCENE. The water flows over the falls, shimmering and reflecting lightning in the far distance, the moon a particular shade of scarlet. The tumbling droplets shatter with red reflected flecks like bursting burning wood. Fractal digital pixelation into:

FLASHBACK MARTELL HOME - CATHERINE'S OFFICE - THE PAST - STOCK FOOTAGE. CATHERINE: "Because I'm in trouble!" Fractal digital pixelation into:

INT. DOUGLAS FIR ROOM (CGI)

Circular sequoia lounge. PETE: "I'm coming for you, Catherine!" Josie rolls her eyes. PETE: "Now, Josie, I'll be right back." JOSIE: "He'll never get here." PETE: "Now Josie, you best hush up, and behave. You know very well its not _if_ he will show up, but _when_ he will. And behave, or 'The Log Lady' will be back, and we all four know what that means. Did I ever tell you that one time, the Log Lady stole my pickup?" JOSIE: "Yes, Pete. We hardly ever meet, but you always tell that tale, with a different ending every time, how do you say, 'keep 'em grasping?'" PETE: "Keep them guessing, Josie." Josie smiles. "Okay, Pete, how does the story end this time?" PETE: "Windom Earle impersonated the Log Lady. Placide Renault saw it all. His assault on Bobby Briggs. She followed that Pinkle fellow, as I recall. A deeply troubled chap, a fear to women, had just groped 'The Log Lady' the real one this time, and Placide went to help, and out of the corner of her eye, she witnessed the whole thing." JOSIE: "I thought you had to go somewhere, Pete?" PETE: "That's just it, Josie, where I'm going and where both two log ladies were that night." JOSIE: "Where is this place?" PETE: "Not where, Josie, but who." JOSIE: "Who, Pete, who?" PETE: "Who is Placide Renault, is who." Pete laughs: PETE: "who who who who who ha ha ha ha!" JOSIE: "Pete, are you being sly or silly?" PETE: "I am being Margaret's Husband right now. Even though I won't be noticed, I want to see it, and I'm late for then, early for now, and fish for dinner, Josie." Pete disappears. Forest swirls with trees. WALLS FADE TO FOREST. Josie alone in woods. Single occasional sparks and embers trailing the tiniest fraction of smoke rotate around the border of the furniture where the wall was. The sparks slowly ascend and get brighter and whiter and extinguish in micro-STROBES. Josie goes to the edge of the 'spark wall.' She moves her hand into it, her arm disappears with digital electric green fractals sprays. She pulls her arm out again, returns to normal. She sits in one of the chairs, and regards herself in a standing mirror.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

CATHERINE: "Drop this waste of breath in the Legacy Court, and I may well see my way clear to not shutting down Horne's Department Store and outlets. I own them. Throw in, say, 20% of Pink Sweat, and I'll give you the rest of that weird sick mirror. As well as a return to 50% shareholdings in Hornestores." BEN: "Throw in the collar you had around our mutual acquaintance, and I'll consider it." CATHERINE: "That leash was one of a kind, a prototype, now back in the hands of the government, thanks to you. It was you, wasn't it, who convinced our friend to come out of hiding, committing all sorts of malfeasances, I'm sure, and be captured as quickly as any little flea-and-sh*t-infested lab rat on fly paper." BEN: "Just get the collar."

WIPE to FREEZE FRAME - RING FALLING - STOCK AND NEW FOOTAGE (CGI)

The floating ring, gold, circled and highlighted by red lampshade reflection, below it: black plastic bag Protocol 121314 'pupil,' a white crescent shine MOVING reflection. Inside that moving reflection, we do not see a frozen reflection of Cooper, frozen like the ring. We see the ring's compound lens view of dancing Cooper, never seeing real view. This crescent shows Cooper exactly mimicking music, so much so, that each instrument playing has vibrations and three-dimensional ripples throughout the whole of this contortionist syncopated reflected Super-Cooper. In fact, Super-Cooper looks directly into the ring's reflection, and shows his snapping fingers, except now, in whirlpools and further rippling crescents, all his fingers snap against each other wildly, like he's playing his own fingers as if a musical instrument, harping across his own snapping ripples. Super-Cooper winks.

FADE TO BLACK.

CGI Caption: ' **PINK SWEAT** HAS PUT HORNE OBSERVATORY OVER THE TOP!' in wood bark brown letters outlined in bright green douglas fir needles, the bark grows, the needles flutter. Except 'PINK SWEAT' in black crystal mirrored letters outlined in sparkling stellar panoramas. The crystal facets flash, the starscape border flutters by stars and nebulae. Letters rearrange to 'HORNE OBSERV **A** TORY O **P** EN **IN TW** OWE **EKS**!" Letters rearrange to 'A PRESENTATION OF THE " **WINK TAPES**."' Letters rearrange to ' **TWEN** TY F **I** VE **A** CTION **P** AC **K** ED YEAR **S** FROM NOW.' Letters rearrange to 'THE DOCUMENTARY: **"WINK TAPES** ".' Letters rearrange to 'AP **PEA** R **S** EVERY **W** HERE **IN** **K** NOWN EXIS **T** ENCE.' Letters rearrange to ' **A** **PE** RFECT **TW** ENTY FIVE YEAR **S** **IN** THE MA **K** ING.' Letters rearrange to ' **TAKE** OFF **P** O **IN** T: **W** A **S** HINGTON.' Letters rearrange to ' **P** RES **S** **I** **WANT** TO **K** NOW MOR **E** ' Letters are pressed by unseen force, and rearrange to ' **TWIN PEAKS** ' in spectacularly refracting dark galactic mirrors. '**********.COM'


	10. Most Beautiful Dream Terrible Nightmare

(Third Edit)

TWIN PEAKS: EPISODE 10: "THE MOST BEAUTIFUL DREAM THE AND MOST TERRIBLE NIGHTMARE"

S3:E10: TEASER

EXT. THEN INT. ONE EYED JACKS - DAY

Unknown woman's blue-laced breasts deal tarot card: The Magician, Reversed (upside-down).

EXT. TWIN PEAKS STREETS NEAR DOUBLE R CAFÉ - DAY (CGI)

Enter the Magician. Tremond's grandson, still eight years old, walks toward Double R around the corner, wearing suit and tie, carrying a dollhouse. As he turns corner, in a second, grows to 25 years older, while dollhouse shatters. He continues his turn in a 360. Clean cut business suit. Dollhouse shards form into briefcase, umbrella, bolo, bowler. He completes his 360 by umbrella-stabbing a passing FBI Poster to the ground, grabbing it, folding it. And entering INT. DOUBLE R CAFÉ. He tips his hat. MAGICIAN: "Hi y'all, the name's "Tréfond Chalmont, 'Trey' please call me 'Trey,' and I'm here to help. These hate crimes, folks, these hate crimes." He flashes the poster. MAGICIAN: "Our organization is on the front lines before, during, and after hate crimes. We are here to make each lost individual part of 'us' again. Why, I've been everywhere, dark places, folks, some long ago, some I hope to help in the future, I, Me, Myself just longed to see something, so I cried out, 'Fire, suffering, hatred, darkness, pain, and sorrow!'" He shuns the poster at arm's length, then calms. MAGICIAN: "Folks, you will not stand alone, so come, walk with me. Let us walk together. Your pain is my pain." Donna is weeping, and hobbles on crutches to his arms. He holds her. MAGICIAN: "Yes, child, how has the! hurt, hurt thee?" James is astonished at Donna. He looks to Norma who is lost between disbelief and charm. NORMA: "Welcome to the Double R, Trey. I'm the owner, Norma Hurley. Thanks for your care, but we have a strict no solicitors policy, even for charity, unless a 'Double R Double,' that's what we call all our recognized charities, like the Foundation. What is the name of your organization?" Magician releases Donna, who returns to a perplexed James. MAGICIAN: "Well, Norma, I'm happy to announce the new Twin Peaks Chapter of 'Lllllllle'ts Walk!' We march for those forgotten folk." Shelly: "Our specials today are have a seat, and we'll be right with you. Otherwise, hold it down or use the door." Heidi emerges from the back, rushes to Magician. HEIDI: "My oh my, you must be exhausted from your trip from?" MAGICIAN: "Montana, born and raised." HEIDI: "But your accent, your name, are you French or French Canadian? MAGICIAN: "Both and more, mademoiselle Heidi." Heidi giggles, issues Magician to a booth. HEIDI: "Oh, my, God, you have to try pies here!" MAGICIAN: "Heavens, no, I'm diabetic, and those pies would be diabolic to a diabetic." Heidi hands him a menu, he hands her a portfolio. MAGICIAN: "And please deliver my credentials to Norma. It's normal to be curious." HEIDI: "Mmm-hmm." Heidi returns to Norma and Shelly. Norma regards the portfolio while Shelly glares at then rolls her eyes at James and Donna. SHELLY: "Why the f*ck is he bringing her here?" NORMA: "I don't know, sweetie. Do you really want me to ban my own nephew from the Double R? That's our policy. Staff first." Shelly stares. NORMA: "Shelly? Yes or no, your decision final." Shelly hangs her head, rubs her temples. SHELLY: "Just let me take the rest of the day." NORMA: "You got it, and I'll tell James, the Double R doesn't allow patrons to disrupt staff or other patrons. Period." Over at James and Donna's booth. JAMES: "What's wrong with you?" DONNA: "Ever since that day in high school, I don't know, its something about Laura. My arm ... its ... Do you smell that? Someone's burning oil in the kitchen. (whispers) God, it stinks in here!'"

EXT. 'DREAM ONWARD' MARIJUANA PURVEYOR - DAY

The two R's in 'DREAM ONWARD' sign red, exact font and shape as Double R Café's logo R's. The other letters have same font and shape but green. The building is a steel reinforced high security building, with charming wood facades. On the porch we see a green neon 'open' sign flash. Loudspeaker radio above porch plays music: VOICE: "It's happening again, folks, please stand by. It's happening again, so please stand by. Wralk with the images, they float right by. Wralk with the images, they float right by. It's happening again, they float right by. Wralk with the images, and please stand by. It's happening again, folks, please stand by. There's messages in bottles, please stand by. It's happening again, folks, way up high. Wralk with the messages, so way up high. Dance with the magicman, and please stand by. Dance with the magicman, and float up high. Dance with the messages, they float right by. Float with the happening, and please float by. Wralk with the Magicman, and please stand by. It's happening, again, folks, please buy pie. Magicman dance again, so please stand by. Messages and images make you fly. Magicman and magicman, make me high." Music fades to background as we hear an ANNOUNCER (NORMA, VO): "Dream Onward. Supplying world winning famous edibles and incredibles with our whirlwind famous spinning delivery. Please float by."

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me & Light Walk With Me cast members.

S3:E10: ACT ONE

INT. HAYWARD HOUSE - LIVING ROOM - THE PAST - STOCK FOOTAGE (NEW CGI) - DAY (CGI)

During Donna's line, this entire scene reflected on and through mirrored droplets of SLOW MOTION waterfall mist, which fall and magnify and circumscribe our view. DONNA: It's like I'm having the most beautiful dream and the most terrible nightmare, all at once." Droplets fall to reveal:

EXT. HORNE WOODS AT WATERFALL - DAY (CGI)

Droplets falling. Donna and James. DONNA: "Something's really wrong, James." JAMES: "Why are you still on crutches?" DONNA: "My leg hurts, my arm hurts. Oh James, I think I have cancer. But James, it feels like _that_ pain..." JAMES: "Laura? Is Laura doing this to you!?" DONNA: "Hospital..." Donna feints. JAMES: "Donna, my God!" LAURA (VO): "Oh, James, let her sleep it off." Laura giggle. James turns to waterfall, expecting a Lauralike. James blinks, squinting through the spray, to Laura, made of droplets. LAURAMIST: "Donna! Wake up!" Donna wakes up. James in wonderment. DONNA: "Laura!" JAMES: "Laura!?" LAURAMIST: "Who'd you expect?"

INT. HAPPY HELPING HANDS ADOPTION AGENCY - NOON

A clock in the modest office clicks to twelve. Cooper enters Judy's office. Judy sits across from Nicky and a woman in black and veil. JUDY: "Agent Cooper, this is Nicky and his wife, the Widow Nancy Renault. NANCY: "Formerly Nancy O'Rieley, sister of Blackie O'Rieley." COOPER: "Yes, I recall. Nancy Renault. Cleared of all charges in the malfeasances at One Eyed Jacks 25 years ago, but Canadian Citizenship revoked. Married to Nicolas Renault, the adopted son of Placide Renault. Your sister, Blackie, killed by Jean Renault, whom I, in turn, later shot and killed. Strange, an O'Rieley married to a Renault. A benefit of marriage, Citizenship reinstated. Nancy Renault, Sister-in-law of Juliette Renault, wanted by the FBI. Both you and your husband have kept your records mostly untarnished. Good to see. But if you will excuse us, we are here on official business." NICKY: "Is this about those other Lauras?" Cooper holds up his hand to stop him. COOPER: "Please excuse us. Immediately." Nicky and Nancy exit. ALBERT: "Special Agent Albert Rosenfield, Cooper, you know." Judy smiles, offers them a seat. COOPER: "Judy Swain. We are going to talk, and we all are going to talk right now." JUDY: "Embryos." COOPER: "Yes, Judy, without violating your client-provider confidentiality, what can you say?" JUDY: "This is troubling. First of all, since all of this got out, those embryos are up for grabs, and without an intervening court order, we must comply for qualified applicants only. People have already applied for them. Second of all, both Leland and Sarah knew all about this, and were not guilty of anything other than giving up the embryos for other childless mothers. And finally, those 12 embryos were, by medical standards-" ALBERT: "Perfect, through all screening processes. Yes, blue eyes, we know all this." JUDY: "But do you know who petitioned to have them saved, not implanted, and not destroyed?" ALBERT: "Let me guess, some representative of the Palmer Family?" Judy grins. "No, now you guess." Judy bites her lip, points to Cooper. ALBERT: "Listen, Ms. Swain, we don't-" COOPER: "My guesses are irrelevant. But my answer might border on the profound." Judy giggles. JUDY: "Benjamin Horne." COOPER: "Not my guess." Judy composes, opens a stick of gum, opens file. JUDY: "Public records, you know." Chews gum. JUDY: "Way back then, that year, I got my MSW, got this job, Laura died, and I opened that file the next year. Once Laura and Maddy would have been 18. Weird year. Weird stuff. Weird weird. There's more, you know." ALBERT: "Gum?" JUDY: "No, but, yes, would you like a piece?" Albert and Cooper shake their heads. JUDY: "So, here's a list of applicants for the Palmer embryos for the years in public records." COOPER: "Jonette Palmer Flying Eagle and Ronny Flying Eagle, parents of Lela and Aurora Flying Eagle?" Judy smirks like a little girl. JUDY: "Your turn." ALBERT: "I've had enough of-" Judy almost squeals. JUDY: "Nope! Leland Palmer. Leland freakin' Palmer!" Judy is now an ecstatic game show contestant! JUDY: "You win! Yeah!" ALBERT: "Leland Palmer applied for those embryos eight years after he was dead? This makes perfect sense in 'Twin Freaks.'" Contestant droops. JUDY: "I thought I won the big prize... And it was six, not eight, took two years to approve, but more precisely, it was 17 plus six or eight. Leland specified a preference for family adoption, 42 years ago, specifically, they could not be implanted before Laura's 25th birthday, making those girls 17, just like Laura was, when she, you know. Sarah was different. I remember you, Cooper. You were here back then like now, and there's a third, I can't remember, because no one can remember the future, that's what Sarah Palmer wrote on one of her forms, under state in one sentence your goal with this procedure, Sarah wrote 'I hope they get a good home, because no one can remember the future.'"

S3:E10: ACT TWO

INT. MORGUE - DAY OVERLAID WITH INT. DOUGLAS FIR ROOM (CGI)

Morgue: Albert and Sam with armed guards at locked Morgue coolers. Douglas Fir Room: Josie strolls to instrumental version of 'Wralk.' Douglas Fir Room's walls slowly rotate clockwise. ALBERT: "Tell me, Sam, first they can't wait to put her back in the ground, now, Sarah Palmer neither wants her reinterred, nor cremated. SAM: "You won't believe me, sir. But my hypothesis is this: Sarah has incited this moment. It's happening again, sir, please don't move." JOSIE: "Margaret has returned and the Log must burn. If the Log is Laura she must not burn. If the log has burned, then I must return. If Margaret returns, then we all must burn." ALBERT: "Do you hear music?" SAM: "No sir. It's fading, sir." Douglas Fir Room fades. ALBERT: "So Cooper, Cooper made up this story, off the top of his head. "So I asked Cooper, out of the blue..." CUT TO INT. HARRY'S OFFICE - EARLIER. ALBERT: "...So if all these coopers and lauras and everybodies, these multiples are, were, and will be all traveling around time, how come some of the coopers didn't cluster together, lay eggs, hatch ideas, or prevent any of this stuff?" ALBERT (VO): "Cooper, smiling just smiling, immediately said, without a beat:" COOPER: "You know, Albert, when I've met all the other Coopers, they just weren't me. It was hard not to be one of the others, Albert. There are many in the Black Lodge. We do not know their legion, but we know their allegiance. That kept me going. However, I was oftentimes unable to speak or in such a perplexing quandary or quantum boundary..." Cooper clicks to music. COOPER: "Or bamboozling a circus, five miles deep." BACK TO MORGUE. ALBERT: "So it happened again, Sam, please say no." SAM: "Its happening now, Albert, now right now." Cooper bursts in. COOPER: "Its time to move, Gordon, I know you know." GORDON (VO): "Okay, Cooper, blue light, God only knows."

EXT. CITY HALL - AT STEPS - STEADICAM - DAY

Peter Milford with microphone following Sarah Palmer up steps. PETER: "Sarah? KTP3. Sarah Palmer? Are you here to file a civil suit as the primary victim of these continuing hate crimes plaguing our-" SARAH: "No, sweetie, I mean, Pete. I'm here to settle out of court. The Horne-Martell legal Remuneration Trust Payments will go directly to the Laura Palmer Foundation. I won't receive a dime. But with Leland's millions, and the other millions, I won't deceive a dime." PETER: "And your financial obligation to your family?" SARAH: "Beth will always be taken care of. As for those embryos they dredged up from the internet, they won't receive two cents. Eight penny here, eight penny there, eight times eight is eight penny square. I figure spreading a little love goes a long ways. So does the Foundation." PETER (VO): "Freeze. Cut. Insert. Play." We see a NEW ANGLE on Sarah as she climbs stairs. PETER: "Let's roll the latest commercial for the Foundation, airing on this station, and our proto-affiliate, PINK SWEAT. Let's roll." CUT TO EXTS. AND INTS. PALMER HOUSE - DAY overlaid with high school photos of Laura, fading through in B&W, and static shot of Sarah in rocking chair on porch, bundled up, sunny spring morning. SARAH (VO): "If you haven't heard of us, we're the Laura Palmer Foundation, and I'm Sarah Palmer, Laura's mother. Laura's Father, Leland, murdered Laura. Learn to see the signs. The Foundation is here to help. Walk into the light, and the light shall set you free."

COOPER'S DREAM: INT. ROUND GRAVEYARD HOLE

Cooper in center in wedding tuxedo. Ladies all around in different colored wedding dresses: Caroline (Black), Annie (white), Donna (Green), Audrey (Red), Lil (Blue), Diane (Yellow), Current Laura (Grey). LAURA: "I'm not reading this. No." Bobby rushes in from ? BOBBY: "Come on, baby, we're going to be rich! Beyond rich! Beyond the beyond!" LAURA: "Hello Reality, come have a seat. I'm Laura Palmer. Reality Laura Palmer. I don't, do, won't exist in any form whatsoever. I'm not real folks. SECRET NUMBER ONE!" Caroline steps forward. CAROLINE: "Honeysuckle strawberry, two and two." LAURA: "Secret Number Three!" LIL: "Roses over violets, four times four." LAURA (whispers): "Five." Laura smirks. AUDREY: "Bla-bla-bla and bla-bla-bla, six point six. LAURA: "Seven already." ANNIE: "Every padded cloister is eight by eight." LAURA: "Nine." DIANE: "Hello, Dale, now on sale, ten for ten." LAURA: "Eleven." DONNA: "It's happening again at Twelve past twelve."

INT. GREAT NORTHERN - BEN'S OFFICE - LATE DAY (CGI)

BOBBY: "Why's Ben pissed? The Observatory is opening way ahead of schedule." AUDREY: "Well, maybe it's the negative feedback on Pink Sweat, you know, where you continue to desecrate Laura's memory by employing those two f*cked up twin c*nts. Oh, and their mutant uncle or Dad or whoever the f*ck the beast in room 301 is. BOBBY: "Listen, Baby, they are our highest trafficked stream, our highest rated show, more importantly, paid the same percentage points as anyone else." BEN (OS): "What the hell have you been pulling!?" Both Bobby and Audrey look guilty. BEN (to Audrey): "Trying to get this Jack-in-the-box Cooper to pop up for you every quarter-century!? Really, Audrey. My, God, have you no shame!?" Bobby smiles, Audrey hangs her head. BEN: "While, at the same time, at the same time, Audrey, revealing our little secret in the rose box. You don't get a man by appealing to his, shall we say, insanities. That thing is stolen top secret material property of the Air Force!" Ben moves to Bobby, puts an arm around his shoulder. Audrey looks jealous. "Son, you will put in a good word with your father?" Bobby drops his head. BOBBY: "Done and done." Ben pulls out a licorice whip, a carrot stick and a cigar. Bobby chooses the cigar. Bobby bites off tip, begins lighting it with Zippo. AUDREY: "Bobby's sleeping with one of those crazy Lauras." Ben stops, turns Bobby to face him. Bobby coughs on first puff, straightens up. "She's lying." BEN: "Audrey, so help me!" AUDREY: "But first, Daddy, the GEBs have arrived." Audrey clicks a remote. Ben turns to a large screen showing EXT. COUNTY FAIRGROUNDS STADIUM - NIGHT. Audrey and Bobby glare at each other. ON SCREEN: Huge crowd around a spotlighted hexagonal firework 'brick.' ANNOUNCER (VO, PETER MILFORD): "'HORNES OF FIRE,' the northwest's leader in firework technology, presents the world's first 'Class X' firework, 'The Glassy Eyed Betty!' The finned hexagonal brick has six eye-shaped port holes on top, centered in triangles like US $1 bill. Brick lit by a technician. Technician moves away, past a strobe light on tripod in background (flashes below). Darkness, save the spiral fuse and spattering sparks. (Flash) Crackle crackle Pop! Crackle Crackle. Pop! Pop pop. Boom! Pop pop Boom! It begins to spin. (Flash) Tornado of sparks, aided by fins. (Flash) Calliope opens, blowing smoke through its pipes, playing the first two lines of the Star Spangled Banner. Flashes match song. Eyes begin to light. (Flash Flash) Still spinning, tiny bursts of brilliant white and red light up inside and around eyes, in a blur except for strobes. (Flash) The strobe momentarily lights up smoke, but where the eyes flash in a blurry spinning circle, the flash makes an odd 'floating eye' illusion, like a wheel spinning fast but spokes seeming backwards. Red and white eyes float in the smoke of multiple flashes. Calliope plays last two lines of Star Spangled Banner. Boom boom BOOM. At its climax, Flashes increase, a third colored floating eye appears: blue. Crowd sounds a little disappointed, then cheers. ANNOUNCER: "Every ten thousandth Glassy Eyed Betty will be red, white, and GOLD, GOLD, GOLD! That's right, it's your ticket to fame and fortune! Ten thousand dollars. Airfare paid. Two weeks meals, lodging, gratuities at Twin Peaks' Five Star Great Northern Resort and Spa during the Fourth of July. 30 minute show on Pink Sweat that you design, star in, and direct. Junket to One Eyed Jacks, an additional ten thousand in chips! Rules apply. Ten percent of profits go to the Laura Palmer Foundation."

INT. JACOBY BUNGALOW - LATER - LATE DAY

Eolani Jacoby brings Doctor Jacoby a piྃa colada with a paper cocktail umbrella. EOLANI: "Hypnotism again? You and your tapes. There are no answers in that world, only sorrow." JACOBY: "Eolani, my love, I'm working." Jacoby dons ear buds, listens, watches Eolani leave, rewinds, plays again. JACOBY: "Oh, my!" NADINE (VO): "Hey, What's up Doc? It's Nadine Butler, in case you haven't guessed, and I'm making another one of those tapes for you. Just exactly the way you like. It's March 4th, and I'm so excited! It happens tonight, by the numbers. Oh, Doctor Jacoby, Mike and I are in love! It's going to be the most magnificent wedding, and the theme at this year's Prom is 'Love among the Stars.' And I made the whole thing up, perfect, I made it out of the thinnest sheets and particles of holographic cellophane. And Norma, Eddy, Hank, Blackie, and Jacques are all going to be there! And the cellophane floats, like teeny rainbows twinkling in air, but don't breathe it in, because it'll choke you to death, so don't tell Phil. He drives an ambulance, and he's made of plastic too."

INTERCUT BETWEEN MARTELL HOUSE AND PALMER HOUSE - EVENING

Sarah vs Catherine! On the phone. CATHERINE: "Yes, dear, you will absolve me in the next ridiculous Legacy Court! All those embryos, all those twins, my god, its like a nest of spiders." Sarah resolute, unblinking. CATHERINE: "That's why Leland really killed them both. And you've got the FBI and this whole damn town bamboozled into believing all sorts of nasty made-up crazy ideas, offspring from all your shenanigans. Crazy, like Spooky-Meadows-crazy. Visions of ghosts and people only you see dear? Just like your sister. They never really found that Bob fellow, did they? You made him up too, didn't you? You know where Bob is?" Sarah lights a smoke, takes a drag. CATHERINE: "He's back where he belongs. Inside you. How many little lauras did you pick through before you found the twisted little rat that crawled out of you!?" Sarah scoffs. Sarah pours scotch into a steaming cup of black coffee. SARAH: "The twins were all alive, all them eggs. One for Sarah. One for Beth, Nine to get ready. And ... Ten ... to ... GO F*CK YOURSELF, BITCH!" Sarah hangs up, sits back, sips her coffee. She smiles, rubs the twinned twin peaks of her new tattoo.

INT. BLACK LODGE (CGI)

Birthing, head first, out of the shoulder stump of a shirtless One Armed Man, is a skin-grafted amniotic-sacked bloodstained tiny fist-sized nude Doppelganger-Man from Another Place, whom we shall call 'Hand.' Hand's arms look like thumbs complete with thumbnails made of embryonic sacked unmoving phalanges, forehead sized fingernail emerges from his forehead. Ridged down its center and perimeter in phalange bones, also sacked. The forehead thumbnail looking more like a crown head plate of a bloody dragon. 'Hand' giggles, claps his thumb stumps. HAND (backwards speak): "With this ring, I thee wed." One Armed Man removes jade owl ring from pocket. Slowly brings it to Hand's finger-sized head. Shoves it on with violence, tearing up Hand's face, ear off, tearing the sack off his crown, choking the ring around his neck. HAND (backwards speak): "Garmonbozia! Garmonbozia! Garmonbozia!" His thumb stumps frantically paw at the collar-ring. Then he rubs his thumbs. Odd resonance sound. He claps his thumbs. HAND (backwards speak): "Let's Roll!" We see the eyes of Hand as an inner eyelid blinks, wiping the eye between normal and doppelganger, they fade from doppelganger to normal: white clear white clear white clear. Hand looks around wildly.

EXT. TWIN PEAKS STREETS AT SHERIFF'S STATION - EVENING

A Lady drives up to Cooper, rolls window down, petting a calico cat. Evening gown. She rolls down window. COOPER: "Miss?" MISS: "Honeycutt. Laura was my student in home room." COOPER: "Yes, I remember you, Margaret Honeycutt, Laura's English Teacher. Laura, in turn, taught English to Josie Packard." HONEYCUTT: "Yes, and even my matronly high school teacher, the venerable Placide Renault was there today. She taught me French as well. Yes, well, I retired today. Decorations, refreshments and pies are, well were, all great. That they remembered, seemed wonderful. It kills me to say, but I wanted to go all helter-skelter on that 'owl piñata' at my party, but, as I was stopped at Sparkwood and 21, my cigarette burns my finger! Frantically I'm swatting ashes! And then I drove here instead, all helter-skelter, leaving my retirement party and flying here faster than a hawk to a crow." COOPER: "Why would you do that?" HONEYCUTT: "Because it isn't over." COOPER: "Margaret, I'm not sure of your meaning." HONEYCUTT: "Logic. And call me 'Honey.'" Cooper gives Honeycutt a second look. HONEYCUTT: "L.O.G.I.C." Honeycutt speeds away. COOPER: "Oh!" HONEYCUTT (VO, chopped talk: Her words chopped from this scene): "The. crow. and. The. hawk. kills. The. owl., The. pies. are. all. that. they. seem-., and. Sparkwood. burns. to. ashes."

INT. SHERIFF'S STATION - HARRY'S OFFICE - LATER - NIGHT

DENISE: "Coop, you look good. Overly preoccupied, but good. Now what are these mysterious designer drugs you've got this whole town chattering about?" COOPER: "Denise, I want you to test my blood." Denise fans herself. DENISE: "Agent Cooper, my! You are forward. Okay, let's get this started. If this is your plea for innocence, it's a good one." Denise opens her briefcase removes syringe, gloves, IV. DENISE: "Remove your shirt, tie, and jacket." ALBERT: "Now who's being forward?" DENISE: "Oh, Albert, you're so sweet." Cooper removes items. Denise looks at his arm. "Already been tested by your friends I see." Denise injects needle. ALBERT: "You aren't going to find anything." Denise draws blood into a test kit with 25 tiny tubes. She taps the bag, removes it from the IV, stoppers it, removes needle, alcohol swabs arm. She snaps the test kit's glass tubules. DENISE: "He's clean." ALBERT: "That's just what I said to Cooper about Phillip Michael Gerard, our one-armed wonder, on the charges to commit murder, fraud, conspiracy. He's clean. Trust me, Agent Pulaski, it won't make any difference to Cooper, even if he failed the test." COOPER: "Albert, you and I am going to dream through this." DENISE: "You boys need to work and play well with others. This was special." Denise smiles, shakes Albert's then Cooper's hand, exits. ALBERT: "Cooper, this is getting 're-f*cking-diculous.'" COOPER: "Albert, don't despair. See time, sing light. But before any of that can happen, Albert, the world will split in 12 different ways. Don't worry, Albert, you and I will all be there." ALBERT: "You really know how to charm a room with nonsense." COOPER: "They live in a dream, they inhabit our dreams and lives, but we can also inhabit them, and we are better than they are, I would go so far as to say, we are the best! I believe we have more than enough cards in our hand, chessmen on our side, and pieces of this puzzle." ALBERT (to no one): "Did you hear that, your honor? Crazy piled on crazy doesn't make sanity." COOPER: "Come, Albert, let us confront spacetime." ALBERT (to no one): "Objection, your honor!" Cooper smiles, and puts his arm on Albert's shoulder as they exit office.

S3:E10: ACT THREE

ENTRANCE OUTSIDE CELLBLOCK - NIGHT (CGI)

COOPER: "Albert, it's about time." ALBERT: "I don't want this." COOPER: "I know, Albert, I know. Right now, twelve things are about to happen, and it will be awfully disconcerting for you. The upcoming war. The oncoming swarm. The forthcoming enlightenment. But for now, relax." They enter the cellblock with Leo, who is the only one in the cellblock. LEO: "I'm going to go all Helter Skelter on Shelly Hurley all Willy Nilly! Everywhere at once! For everyone to see!" ALBERT: "Wow." COOPER: "Bob." ALBERT: "Wow. That's a confession to intimidation. We have him, Cooper. Cooper?" Cooper stares into the cell. Cooper stares at Leo. Leo glares at Cooper. COOPER: "You got him, boys?" Albert looks around. POV COOPER with Phillip and Chester holding Leo. COOPER: "Open the cell, Albert, and I'll put the collar on." Leo now blankly stares forward. Albert opens cell. Cooper hand cuffs, shackles, then collars an entranced Leo. COOPER: "Remember, Albert, this is when it happens. Rather, Albert, forget when it happens, and concentrate on how it happens. You can enter now, Albert." ALBERT: "What's going on, Cooper? Cooper? Cooper?" COOPER: "Just a few more steps, Albert." Cooper positions Albert behind Leo. When the four are assembled ... Cooper faces Leo, Albert faces the back of Leo. Chester faces Phillip. ALBERT: "Not the Black Lodge." COOPER: "No, Albert, this is different." Slow morph of Bob's face and body emerging from Leo's rear profile, forming a Double-Faced double-bodied creature. END POV as Albert now sees Bob, Phillip, Chester. Cooper sees Leo. Phillip and Chester see Double-Face's profile. Albert does not react to seeing Bob. Double-Face struggles, and pulls on the flesh and clothes of where their bodies conjoin, any movements seem to cause pain in Double-Face. PHILLIP: "Rosenfield." ALBERT: "Jeffries. Desmond." CHESTER: "Rosenfield. Cooper." COOPER: "Desmond. Jeffries." PHILLIP: "Cooper. Judy." COOPER: "Phillip, get your mind off Judy." [ _Audio note: 'Upside-Down Speak': Each phoneme recorded backwards, then individually played backwards, microsecond gaps between phonemes. Examples: Backwards Speak: GOL then LOG. Upside-Down Speak: "L"-"O"-"G". Both: "G"-"O"-"L" then "L"-"O"-"G". Pronounced whilst actor stands on head and bounced off a circular platinum/iridium mirror, and please, if the tech department could also bounce it around outer space, that would be marvelous._ ] LEO-BOB (backwards upside-down speak): "Judy, Judy, Judy." COOPER: "Bob, we caged you once for Leland's murder of Laura. It's only a matter of time before you kill this man, Leonard James Johnson. You will rot or be driven insane or both. Your DNA is electrically burnt into the collar. The roll of Finley's Fine Twine used to desecrate Laura Palmer's cranium in ligatures matches microfibers to the roll found in your vehicle, not that of Juliette Renault. Who is your accomplice or accomplices?" LEO-BOB (backwards upside-down speak): "The High Witch! ... The Sentinel of the Purge! ... The Queen of the Tower!" WARP scene around a transparent yet mirrored ball in space. Wrapping around this mirror sphere: half JAIL CELL and half EXT. SPACE. A 3D 360 degree view from Earth, showing all constellations Moon, Sun, everywhere, all at once, reflected on the mirrored transparent sphere. The stars rotate clockwise, our mirrored cell with four agents and Leo rotates counterclockwise, the characters now 3D. Sphere spins faster unto blur. FREEZE FRAME BLUR. Over the entire sphere, the unctuous eye-slather and inner then outer eyelid of rotted maggot infested owl, slithers in then in then out then out. Caption: 'Midnight March 5.' The sphere then shatters like a holiday ornament, segmenting into twelve longitudinal wedge-scythes. Each wedge falls, reflecting stars and a scene below. Each scene Laura and Cooper watch scene, from within scene, holding hands, transubstantial, their faces like a replication of the sphere's earlier blur, but SLOWED so we see swaths of faces of the 5 in the jail cell, coursing across Laura's and Cooper's stoic visages. In each scene, a shaking, contorted arm [in brackets] then reveal person contorting. Falling Wedge 1: SPARKWOOD & 21 NIGHT: James & Donna on hog speed through red light. [Donna's arm]. Mirrored Slice 2: DOUGLAS FIR ROOM: Josie smiling arms draped around Harry. [Pete's arm]. Cracking Glass 3: ASYLUM NIGHT: Nadine escaping, holding her eye, herding Gerard and others out. [Gerard's arm.] Jagged Edge 4: DOUBLE R CAFÉ & WOODS NIGHT: Ed and Norma with flashlights. [Bob's arm]. Fractured Cracks 5: GREAT NORTHERN & WATERFALL NIGHT: Ben & Jerry & Audrey. [Audrey's arm]. Knife Point 6: CITY HALL NIGHT: Harriet, Doc Hayward, Eileen. [Doc Hayward's broken arm]. Quicksilver 7: EASTER PARK & HOSPITAL NIGHT: Ronette watches fireworks from gazebo. Person watches gazebo from Hospital. [Ronette's arm]. Twice Mirrored 8: SHERIFF'S STATION NIGHT: Lucy stands with Andy and Waldo perched on Sarah's finger. [Laura's arm]. Nine times 9: EON: Garland (Major General) and Betty (Major), both in Air Force uniforms, stand with Bobby in uniform. [Bobby's arm]. Claw marked glass 10: ROADHOUSE & GRAVEYARD NIGHT: Placide [Placide's arm]. Self Slicing 11: BLACK LODGE & JAIL CELL NIGHT: Caroline, One Armed Man, Bob, Annie, Leo, Leland, Albert, Chester, Phillip, Tremond, Magician, Man From Another Place, Harold Smith, Maddy, Donna, Bobby, Carl Rodd, Heidi, Johnny, Juliette, Ronette, Nadine, Nicky, Roundtree, Waiter, Windom, Audrey, Catherine, The Monkey, Theresa. [Theresa's arm]. Scintillating 12: WHITE LODGE & MARGARET'S CABIN NIGHT: Margaret sips steaming black coffee, Giant appears. [Cooper's arm].


	11. It's me It's me

(First Edit)

TWIN PEAKS: EPISODE 11: "IT'S ME. IT'S ME."

S3:E11: TEASER (CGI)

EXT. SPACE

Caption: 'Midnight March 5.' We travel into the glass of a leftover particle of the shattered glass mirror orb, the 12 shards falling below into space. Into the glass we are transported to an Earth and universe made of glass. Traveling over refracting mountains and trees of crystal under glass clouds and glazed skies alive with glasswork aurora. As we travel into the (rock) of the mountains, we pull back to reveal the mountains are but the upper tip of the entire crust of Earth's mantle, showing active vulcanism, all made of glass, floating in space. Or is it glass? Ice? Mirrors? It flashes with sunlight. As we pull back, we see this diamond version of the Earth's crust, gelatinous mantle, then its molten mercurial outer core then the spinning dynamo of the Earth's solid inner core, generating electromagnetic ripples throughout the marble planet. As we pull back further, this crystal Earth generates a powerful magnetosphere, and with the glass moon, become but a flashing speck that disappears into the stars. Pulling back further to reveal the sun, filtered, blazing with solar flares, swarming with sunspots, and bursting with coronal mass ejections. Still, all the way to Earth, that tiny crystal globe manages to flash. Flashity flash flash. Flash.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me & Light Walk With Me cast members.

S3:E11: ACT ONE (CGI) [Entire act ripples from Cooper.]

INT. GORDON'S PLANE - IN FLIGHT - NIGHT

Gordon sits across from two women. Ronette's contorted left arm appears in green fractal sprays as it reaches in from Act 12 [Easter Park] and touches Gordon's forehead. Arm withdraws. No one seems to see these arms and fractal sprays. Strange pixelation ripples. GORDON: "I'm glad 'The Fort' assigned you." Gordon sits across from a studious looking African American woman. Pixelation spotty. WOMAN: "Diane Shapiro Hill. But since we have two Dianes, call me Raven. Or Doctor Hill. Or Agent Hill." Gordon smiles, looks over to a 'Lil' twin-looking woman. GORDON: "Well, Diane, that's settled. How long's it been since you saw Cooper?" DIANE: "Twenty seven years, 4 months, 22 days, 9 hours, 12 minutes. Wait for it. Mark." Gordon smiles. Gordon seems to look at the pixelation. RAVEN: "Hawk has told me so much about the case already, and since I spend as much time in Twin Peaks as possible, I am familiar with ... fascinating ... is that burnt smell coming from the galley?" GORDON: "Something's amiss. But I never trust my gut, I trust facts." Gordon hits the screen as if he's inside one, pixelation stops, ripples continue. Gordon looks out window to EXT. PLANE & WOODS BELOW PLANE to see ripples emanating from a tiny cabin and the woods far below.

EXT. LOG LADY'S CABIN - PORCH - NIGHT

Log Lady sips steaming black coffee, sitting at a small table with two chairs. LOG LADY: "Phoenix." Giant appears, walks up. She pours another cup. A third remains empty. Full pie under domed glass. Giant smiles, sits. Laura and Cooper watch, holding hands, transubstantial, their faces stoic, their transubstantiality inconsistent, with parts of Laura and Cooper fluctuating more real than others, we shall call them 'Lauraflux' and 'Cooperflux'. LOG LADY: "There's no cookies, scones, or cake." GIANT: "Coffee." The Giant sips the coffee. He puts the cup down, the blackest ripples in the cup. LOG LADY: "Okay, the log is ready." They stare at the white cup with black java. GIANT: "Light, walk with me." The cup transforms to black, the liquid white and steaming. In fact, the black contains stars, the immaculate white emanates light, even through the cup. Cooper enters, in pain, edges forward, ripples of heat pulse from him in every direction. Lauraflux and Cooperflux watch Cooper. Cooper holds his left arm, but a single free finger twirls his ring around the pinkie finger of his contorted left hand and digits. LOG LADY (to Log): "I don't know what it means either, dear." GIANT: "Better to watch, Translator." Margaret nods, uncovers pie, slices it (cherry), serves it. GIANT: "The Sender will send four messages, the first two, we have received. The third is for the present, and the fourth message for the future. Watch." Cooper's contorted left arm disappears in green fractal sprays as it reaches into Act 2 [Sheriff's Station] and touches Harry's forehead. BACK TO CABIN. Arm withdraws to normal. Cooper collapses. COOPER: "I. am. Cooper. Cooper. Cooper. The owls are not what they seem." MORPH to EXT. WHITE LODGE. Four vine-snarled scintillating white marble thrones. Cooper's ring, enlarged to fantastic porportions, encircles the empty thrones, rotating clockwise. GIANT (VO): "He is sending." MORPH BACK TO CABIN. LAURAFLUX: "What does this mean, Dale?" COOPERFLUX: "It's just part of how you were saved, Laura." LAURAFLUX: "Twenty Five Years, Dale." COOPERFLUX: "Meanwhile..."

S3:E11: ACT TWO (CGI) [Entire act pieces of a jigsaw puzzle. Twelve missing pieces (out of 100) float in and complete puzzle by end of act.]

INT. SHERIFF'S STATION - HARRY'S OFFICE - NIGHT

Harry leans back in his office chair. COOPER: (altered stock audio, VO): "A catnap _now_ in your office chair." Harry's eyes roll back in his head. Eyes completely white. Harry's lids close, he snoozes in his chair. COOPER (stock audio, VO): "A catnap _now_ in your office chair." Cooper's contorted left arm appears in green fractal sprays as it reaches in from Act 1 [Log Lady's Cabin] and touches Harry's forehead. Arm withdraws. Harry wakes suddenly. Hawk stands watching. HARRY: "Hawk...?" HAWK: "You were dreamquesting. I was your spirit guide." Harry shakes his head. HARRY: "What? Hawk, what the f*ck is going on? I just saw Josie, alive, for the first time since she died. But I think I've seen her a dozen times. But it didn't just happen. It's like ... it's happening, again and again. I'm starting to think I'm nuts, or Cooper is nuts, like Windom Earle nuts!" HAWK: "When the four in the White Lodge send a message, the Little Man in the Black Lodge will go mad." Harry stands. HARRY: "Enough! So help me God, Hawk! What happened to me in the Log Lady's fire!" Hawk looks directly at Harry. HAWK: "Light, walk with me." Harry's eyes roll back in his head as Hawk catches him and seats him. Sarah enters, Waldo perched on her blue gloved hand. Lucy enters with Andy. Andy hides a hankie. Lauraflux and Cooperflux watch, holding hands, stoic. Lauraflux's left arm is more real. COOPERFLUX: "Gordon's plane is in flight." LAURAFLUX: "Is the chess master bored with pawns?" ANDY: "He's ready, Sarah." LUCY: "The bird or the dodo bird?" Sarah chuckles. ANDY: "Like Hawk said, Lucy, Sheriff Truman can't help it if he's still in love. And you shouldn't stay mad at him anyways, Punkie." HAWK: "Right, Andy." Lucy rolls her eyes. LUCY: "Another one of Sheriff Truman's Josie-spells." WALDO (stock audio, impersonating Laura, VO): "Hurting me. Hurting me." Sarah turns and looks and speaks directly at Lauraflux and Cooperflux. Andy and Lucy perplexed at Sarah. Harry sleeps. Hawk smiles, nods. SARAH: "I can't hear you, Laura. Can you hear me?" Sarah extends her arm. As Lauraflux lifts her left arm to almost hold Sarah's, Lauraflux's left arm contorts, and as she brings it up, she is horrified to see the Jade owl ring on it. WALDO (stock, VO): "Hurting me. Hurting me. Hurting me." Lauraflux's contorted left arm disappears in green fractal sprays as it reaches into Act 6 [Douglas Fir Room] and touches Josie's forehead. BACK TO HARRY'S OFFICE. Arm withdraws to normal. COOPERFLUX: "Do you see why this puzzle is difficult to understand, Albert?" LAURAFLUX: "Harry must wake up. And don't call me Albert." Lauraflux turns to Sarah. Single tear runs down Lauraflux's cheek. LAURAFLUX: " ... Mom ..." SARAH: "Laura." COOPERFLUX: "Josie must die." LAURAFLUX: "Mom ..." Sarah, trance like, turns. Cooperflux and Lauraflux stare at each other, wondering. They stare where Sarah stares. FREEZE FRAME. The Waiter appears, cup of coffee on tray. He sets the coffee by Harry. Tips over a black wooden chess piece rook. He pats Harry's shoulder consolingly. WAITER: "Better, Harry." Waiter disappears. END FREEZE FRAME. SARAH (simulwards, upside-down speak): "Meanwhile..."

S3:E11: ACT THREE (CGI) [Entire act viewed through 12 hooded cloaked invisible silhouettes. These silhouettes parade in a circle. Though all invisible, one silhouette reverses the left-right view that it passes in front of, including other silhouettes, at times producing multi-mirrored crystal refraction. Where there is no silhouette: a starscape showing two active magnetars in a binary death spiral, both rife with starquakes and gamma ray detonations.]

FLASHBACK INT. DOUBLE R CAFÉ - 25 YEARS AGO - DAY

Placide drops her fork, her arm contorts. FLASHBACK EXT. GRAVEYARD - LAURA'S REINTERNMENT - NIGHT. Placide's arm contorts as she points at Leland's corpse on Laura's coffin. END FLASHBACKS FOR INT. ROADHOUSE - NIGHT. Roadhouse empty of patrons, doors locked, no (live) music. Placide wheeled in by Juliette. All guests dressed in formal tuxes and gowns, including The Waiter, who sits among guests. Nicky, Nancy, other men and women in audience. Placide holds her contorted left arm and hand. NICKY: "Maman, is your arm hurting again?" JULIETTE: "Maman." PLACIDE: "It's nothing the Renaults can't handle." Lauraflux and Cooperflux watch, holding hands, stoic. PLACIDE: "Where's the Log Lady?" NANCY: "Hasn't left her cabin in over 24 hours." PLACIDE: "Major Briggs?" NICKY: "Last seen with the Log Lady." PLACIDE: "Those two should get a room." NICKY: "Oui, Maman." Placide stands from her wheelchair. Waiter stands from his seat. PLACIDE: "Know this, Renaults! We will not be played for fools! Jamais! Juliette did nothing except Catherine Martell's bidding, and even that was law-abiding! They call her a Laurite for her love of Laura." Juliette strikes her chest, weeps. PLACIDE: "We reserve judgement on the Horne Girl, for how she used dear Juliette. But we are also shrewd. Tell them, Juliette, my Juliette. How much you made off the Hornes. Tell them your way." Unlike her stuttered English, Juliette's French is flawless. JULIETTE: "Dix mille dollars Canadien, et une autre dix mille dollars Canadien en jetons par 'Borgne Jacques' ou O-one Eye-eyeddd J-jacks." Crowd cheers. Juliette uncovers stack of ten thousand Canadian dollars. PLACIDE: "Know this, Renaults. The time is now. We are closed tomorrow for the Fourth of July rehearsal. Tonight, we serve the Hornes. Nothing, I mean nothing, is going to happen without the Renaults knowing. Stay linked in, and pinked in, because I smell a stink in this town, and we are going to ferret out the snakes! That bitch-viper Martell is not going to sleaze her way out of this one. She's openly called our family a cult, but we all know who's the she-dragon! We arm ourselves tonight!" More cheers as Nicky opens crates. NANCY: "Maman, Cooper knows about the guns, he said so that day he showed up." PLACIDE: "I don't give a f*ck if we get arrested! Unload the guns!" Crates are opened containing semi-automatic rifles and assault guns. Pete's contorted left arm appears in green fractal sprays as it reaches in from Act 6 [Douglas Fir Room] and touches Juliette's forehead. Arm withdraws. Placide winces in pain. She points with her left arm toward the wheelchair. Juliette looks terrified and shakes her head 'no.' Placide re-strikes her point, Juliette relents. Juliette sits in the wheelchair, Nicky and Nancy strap restraints to her wrists and ankles. Placide watches her people load weapons. Nicky hands Placide a owl-claw-handled cane. Placide stares at Juliette. Placide's contorted left arm disappears in green fractal sprays as it reaches into Act 4 [EON] and touches Garland's forehead. BACK TO ROADHOUSE. Arm withdraws to normal. PLACIDE: "Did you see that!?" Juliette smiles with an alarmingly depraved curl. JULIETTE: "They killed me, Placide. They killed me in Dear Meadow, but I floated down to Wind River. The Deputy who found me was killed by a Twin Peaks cop. After they killed me, they killed Laura." PLACIDE: "Your English, Juliette!" JULIETTE: "And yes, Placide, only you, I, and Daddy saw it." Placide looks out to audience to Waiter, who gives a big thumbs up smile. WAITER: "Meanwhile ..."

S3:E11: ACT FOUR (CGI) [Entire act alternates through Nine different stationary security camera angles, which shuttle with regular Clicks. Air Force information prints on angles with facial recognition software. Below, green fractalization appears as strange green pixelation.]

INT. EON - NIGHT

Placide's contorted left arm appears in green fractal sprays as it reaches in from Act 3 [Roadhouse] and touches Garland's forehead. Arm withdraws. Garland stares off, lost in thought, then smiles as Bobby exits elevator. Bobby, mouth agape in astonishment, walks to the center of the collider room, and stares around in wonder. He wears his sheriff's uniform, and stands with his parents, Garland in his Air Force Major General uniform, Betty in her Air Force Major uniform. BOBBY: "Dad? Mom? Wow! What ... Is ... This?" Lauraflux and Cooperflux watch, holding hands, stoic. Garland stares off, not staring at Bobby, but seems to smile at Lauraflux and Cooperflux. GARLAND: "Well, son, this is one of the proudest days of my life. Quite outside the scope of my responsibilities to my superiors, what I am about to share with you, son, is profound. The signal, son. Witness." BETTY: "It's okay to feel sick, son." Bobby is speechless. BOBBY: "What the what the what in the-" GARLAND: "Thank you for not swearing, son." The High Energy Collider hums to whir then dull roar. Garland raises his hands. GARLAND: "I am the Signal. Behold, the third message." In many screens we see strangely pixelated then fractalized letters? Numbers? Three-dimensional characters forming, whose alphabet is infinite, in that each unique fractal character is wholly different from the next, and all before and all after. Slowly, normal letters form: 'THE OWLS ARE NOT WHAT THEY SEEM' then 'COOPER COOPER COOPER' then 'LAURA LAURA LAURA'. Bobby's arm begins to contort. BOBBY: "What the f*ck!?" Bobby's contorted left arm disappears in green fractal sprays as it reaches into Act 11 [Asylum] and touches Annie's forehead. BACK TO EON. Arm withdraws to normal. BOBBY: "I just touched some chick's head. Annie. Annie was her name. Sh*t? What's? Dad? Dad?" GARLAND: "Yes, son?" BOBBY: "It hurts." BETTY: "The arm?" BOBBY: "No, yes, the arm is killing me, but Laura. I mean. Whenever Laura's been here, I hurt." Bobby swoons slightly. GARLAND: "I know, son." Garland steadies Bobby. BOBBY: "Is she here, Dad?" GARLAND: "Yes, son, as a matter of fact, she is." Bobby blinks, shakes his head. GARLAND: "I can neither see, hear, detect, nor justifiably 'sense' her. But she is here, son, I assure you. It comes from deep intuition. You see son, you and Laura's fate are intertwined even as we speak, as with the Hayward girl, who feels it far more acutely than you, her pain more terrible. And so it is with this intuition that I can forthrightly declare that I, too, feel your pain, son." Bobby blinks, sways. BOBBY: "Signal? Laura?" BETTY: "More about that later, Bobby. Bobby, you know what you must do." Bobby seems almost hypnotized. BOBBY: "Audrey's leg sh*t." BETTY: "The Vruv7. It's been arranged." BOBBY: "Okay ..." BETTY: "Yes, son." GARLAND: "Listen carefully, son, the United States Air Force will not press charges against the Hornes, for your complete cooperation. So, Robert, tell me about Horne Observatory." Bobby stares forward. BOBBY: "They point to space. But measure magnetic fields inside the Earth. I feel strange." Bobby blinks, focuses. GARLAND: "Yes, Robert. And Pink Sweat?" Bobby swoons. Garland and Betty hold him. BOBBY: "Betray Audrey? Ben? Jerry? ... My Oath ..." Bobby stares blankly. GARLAND: "Robert, we need to link everyone: Pink Sweat's cameras, law enforcement, the Air Force, the town's militia. BOBBY: "Link to FBI and Air Force established. Like my dream." Bobby staggers. BETTY: "Good, Robert." BOBBY: "Millions ... footage ... everywhere ... all at once ... biggest ... best ..." Bobby stumbles backwards. His parents catch him, guiding him to chair. Bobby sleeps. BETTY: "Major General, was this necessary? Injecting our own son?" GARLAND: "Whereas Leland injected Sarah for nefarious ends, we both know we only wish the best for Robert, the best for this magnificent town and wonderful people of Twin Peaks, indeed all those who seek truth and light and justice ... Excuse me dear, I'm experiencing quantum time fracturing." Betty answers her cell phone. "Hello? Yes, this is Beth ... Sure thing, Sarah." She hands phone to Garland. GARLAND: "Major Garland Briggs ... Of course I do, Sarah." Garland looks at the phone. Sarah has hung up. Garland rests a hand on Bobby's shoulder. GARLAND: "And stop smoking, Robert." BETTY: "Hush, you." LAURAFLUX: "Laura, Laura, Laura?" COOPERFLUX: "The first two messages were meant for me, to link the blue rose and the blue book. To link the FBI and the Air Force." LAURAFLUX: "And the next message is for me?" COOPERFLUX: "No, Laura, it is meant for me, but you will send it." LAURAFLUX: "When?" COOPERFLUX: "Twenty five years." LAURAFLUX: "From now?" COOPERFLUX: "No, from then." GARLAND: "Meanwhile ..."

S3:E11: ACT FIVE (CGI) [Entire act smokey and obfuscated.]

INT. BLACK LODGE

The entire floor of the Lodge has been shattered in earthquaked chevronned mountainous rubble midst gigantic jagged boulders. A vast scape showing red curtains? flames? miles away. The chevrons on every broken piece oscillate forward, as if each were a video screen, in every direction. Throughout the quakescape, crawl people, with tiny red curtain/flames licking over the surface of their skin and clothes. They scamper up a mountain of chevrons, above whose stratospheric summit shines a red star in the zenith of the sky. We travel through the smokey red-reflected sky. All backwards speak, and turn to speak directly to Cooperflux and Lauraflux. Lauraflux and Cooperflux float by people, and watch, holding hands, stoic. Bob's contorted left arm appears in green fractal sprays as it reaches in from Act 7 [Double R] and touches Windom's forehead. Arm withdraws. WINDOM: "I hate that plastic girl." CAROLINE: "I TOLD you, Dale, no rings!" PETE: "Mike and I are in love!" ONE ARMED MAN: "His name is Bob." LEO: "Catch you with my death bag!" ANNIE: "Who's Annie?" BOB: "You broke my heart!" LELAND: "Well, I just might be more than a spell." ALBERT: "Has anyone seen Bob on Earth?" CHESTER: "No one came to claim the body." HEIDI: "My Grandson's a magician!" MAN FROM ANOTHER PLACE: "Sometimes things can happen just like that." Snaps finger. MAGICIAN: "I've got good news!" HAWK (VO): "When the four in the White Lodge send a message, the Little Man in the Black Lodge will go mad." Man From Another Place cuffs his ears and shutters, vibrates, trembles. He oscillates in the tremble, blurring. HAROLD SMITH: "Hey, girls, can I light a fire under there, or what?" MADDY: "Why does it stink so much?" DONNA: "Nobody loved Laura but us." BOBBY: "I'll see you in my dreams." CARL RODD: "I've already gone places." TREMOND: "I couldn't get my car started." JOHNNY: "Amen!" JULIETTE: "They killed me in Deer Meadow." RONETTE: "Don't go there." NICKY: "Oui, Maman." ROUNDTREE: "It's me. It's me." WAITER: "Coffee? Coffee? Coffee?" CATHERINE: "You'll learn, as I have, the value of hate." AUDREY: "Morning, Colonel Cooper." ROBBY: "I raise orchids." THE MONKEY: "Judy." PHILLIP: "JUDY!" Phillip points to Evil Dale. EVIL DALE: "How's Annie?" DANIEL: "That's my favorite gum in the whole world." NADINE: "She's dead. Wrapped in plastic." THERESA: "Dix mille dollars Canadien." Theresa's contorted left arm disappears in green fractal sprays as it reaches into Act 12 [Easter Park] and touches Catherine's forehead. BACK TO LODGE. Arm withdraws to normal. LELA: "Aunt Sarah, I had the strangest dream last night." AURORA: "Meanwhile..." Aurora poses her hands as Laura's.

S3:E11: ACT SIX (CGI) [Entire act bordered in a strange pixelation/green fractalization dream-cloud.]

INT. DOUGLAS FIR ROOM

Lauraflux's contorted left arm appears in green fractal sprays as it reaches in from Act 2 [Sheriff's Station] and touches Josie's forehead. Arm withdraws. Harry wakes up, smiles as he faces Josie. Josie drapes her arms around Harry. They sway and slow dance. Lauraflux and Cooperflux watch, holding hands, stoic. COOPERFLUX: "Josie's remains are missing, Albert." LAURAFLUX: "The CIA is involved." STRANGE PIXELATION. GORDON (VO): "Here's the thing, 'The Fort' has their top woman on this, already in Twin Peaks." STRANGE PIXELATION BACK TO DOUGLAS FIR ROOM. Pete seems fascinated by this pixelation stuff. PETE: "You see this stuff, like snow, but all squares and circles, like those M. C. Escher doodles. Whatnots going up stairs forever, which reminds me of the time the Log Lady stole my pickup truck." Pete plays with the fractalization. PETE: "Sometimes I think I have more blood on my hands than Catherine, but then I remember Placide Renault saw a piece of the face of Windom Earle, that crazy fellow, and she's seen a piece of him again in someone else's face. And that's the difference between you and me Harry. I may love Catherine, but I'm no fool. Catherine is falling to pieces, I fear, pieces of her and pieces of that crazy FBI man. Begging your pardon, that Windom Earle. Some folks think Cooper has the same malady that Earle had. All those plastic pieces. He took my truck. That old truck. 'Trusty' or 'Rusty' was my truck's name. I was standing by ole Trusty one time up to the airport with Audrey Horne. She watched me die, you know, by the way. Sweet gal, all troubled over boys, was up there, at the airport, taking off on some adventure, and my arm all of a sudden..." Pete's arm contorts. PETE: "I'm falling to pieces like Catherine ... You best wake up, Harry. I don't have much time!" JOSIE: "No, Harry. Stay with me. Forever." LAURAFLUX: "They are locked in a dream." COOPERFLUX: "We aren't dreaming, Laura." PETE: "Wake up, Harry." HARRY: "I can't, Pete." Pete's contorted left arm disappears in green fractal sprays as it reaches into Act 3 [Roadhouse] and touches Juliette's forehead. BACK TO DOUGLAS FIR ROOM. Arm withdraws to normal. PETE: "King's knight to insane pawn. Oh, dear. Meanwhile..." Pete turns transubstantial.

S3:E11: ACT SEVEN (CGI) [Entire act viewed as if inside and through a glass syringe, which wraps and warps around our vantage. The syringe's gradient scale is shown: 1CC, 2CC, L3C, CWL, .5DC, 6CC, Vruv7, 8x8, Cccb3r, 1DC]

EXT. DOUBLE R CAFÉ - NIGHT

Closed sign blinks, then flickers in window.

INT. DOUBLE R CAFÉ - NIGHT

Closed dark café. Shelly finishes up in dark kitchen. Norma and Ed sit in booth. Doc Hayward's contorted left arm appears in green fractal sprays as it reaches in from Act 10 [City Hall] and touches Norma's forehead. Arm withdraws. NORMA: "It's spooky time, Ed. Midnight." ED: "You had a busy day." NORMA: "Orders are through the roof. But its nice to be closed tomorrow for the parade, except our fresh-while-you-wait 'Don-Huts.'" Lights go out. NORMA: "Dammit, Heidi, we're still here!" SHELLY: "Oops, that was me." Lights return. SHELLY: "Bye Norma, bye Ed." ED: "Night, sweetie." Shelly exits to kitchen back door. NORMA: "Good night." We hear the door to kitchen slam. Lights go out again. ED: "I'll get it, darling." Ed moves to back. Norma lights the candle of a floral display. Ed returns quietly, snuffs the candle, makes a shhh gesture and issues Norma out of the restaurant to EXT. DOUBLE R CAFÉ. Ed locks café. ED: "Come on, darling, someone's in the store. My cell phone is dead." NORMA: "Mine's dead too. We'll use the house phone." They hastily move toward Big Ed's truck.

EXTS. BIG ED'S HOUSE & GAS FARM - MOMENTS LATER - NIGHT

As Big Ed and Norma pull up, they see the front door of the house is damaged, open, hanging on one hinge. ED: "We're getting out of here, Norma." Ed's truck stutters and quits. He tries to no avail. Crashing sound in house. He nods to Norma, and they hurry across to Big Ed's Gas Farm. Lock is mangled. ED: "I can't get to the tow trucks." NORMA: "Ed, I'm scared." ED: "Someone's out to scare us darling." They move to the rear of the Gas Farm. There, Ed uncovers a hidden old revolver, probably unregistered, midst spilled bullets. ED: "We are going to have to cross through the woods. You up for this darling?" Norma takes a nearby crowbar and knocks the heels of her shoes off, slipping them back on. NORMA: "I'm ready for anything." Norma brandishes the crowbar. They exit into woods.

INT. DOUBLE R CAFÉ - NIGHT

In the dark kitchen, Heidi stands in the dark, seemingly petrified and perspired. Through the kitchen order window, we see a shadow move through the store. Light emanates through the front glass doors. We now see the unmistakable silhouette of Bob, looking and moving about half crouched. Lauraflux and Cooperflux watch, holding hands, transubstantial, their faces stoic. Bob's contorted left arm disappears in green fractal sprays as it reaches into Act 5 [Black Lodge] and touches Windom's forehead. BACK TO DOUBLE R. Arm withdraws to normal. BOB: "I know you're in here." LAURAFLUX: "They're trying to take me." COOPERFLUX: "Who, Laura?" LAURAFLUX: "The ring of owls." BOB: "Meanwhile ..."

S3:E11: ACT EIGHT (CGI) [Entire act viewed through tiny mist droplets that collect and pool in mid air, as if at zero-G.]

EXT. GREAT NORTHERN & WATERFALL - NIGHT

Ben, Jerry, and Audrey, dressed in dinner attire, stroll past several guards with bluetooths. They arrive at a lookout over the falls. Lauraflux and Cooperflux watch, holding hands, stoic. AUDREY: "The Renaults will be here soon, Daddy. Why do you insist on hiring them, when you know they've hated us since we secured One Eyed Jacks?" BEN: "Keeping things civil, Audrey." JERRY: "Yeah, Audrey, civil, as in out of civil court. Remuneration keeps things ... civil." BEN: "Why, Audrey, have you drug us out here tonight? Tonight, Audrey." AUDREY: "Daddy, Uncle Jerry, as the three primaries in Horne Industries, I thought it appropriate we discuss the pending charges against us, and the true perpetrator of all this insanity." Ben And Jerry exchange glances. Audrey strokes the diamonds around her neck. AUDREY: "Except for Pink Sweat. I blame Bobby for the insanity there, not you two." Ben and Jerry smile. AUDREY: "Right now, Cooper and Rosenfield are happy with the truth we have provided them, namely, Catherine Martell is guilty of the theft of Air Force Stealth technology, not us. They are probably raiding her house and properties soon if not now. My spies tell me the Renaults are ready to riot if she gets off scot-free. Juliette is, um, who cares? Cooper. Cooper is why we're here, Daddy." JERRY: "Audrey, for the love of God, please! No more high school crushes!" BEN: "Really, Audrey?" AUDREY: "Yes Daddy. And its wonderful. Uncle Jerry, you're going to love this." Jerry giggles, sits, pulls out a roast beef stack hoagie and bites in as Audrey sparks a joint. AUDREY: "Daddy, I know, I just know, that Agent Cooper is going to discover the truth, not just about the filthy desecrations of Laura, but about everything." She puffs and blows out a hit. AUDREY: "That's why I want to give the FBI raw access to all our cameras in Pink Sweat, before we black out faces, disguise voices, change names, ad nauseam. And speaking of Laura, I want those lookalike Palmers fired." Audrey's contorted left arm disappears in green fractal sprays as it reaches into Act 9 [Palmer House] and touches Sarah's forehead. BACK TO GREAT NORTHERN. Arm withdraws to normal. JERRY: What the hell's wrong with your arm!?" AUDREY: "Nothing, just a cramp." BEN: "What!? No, wow, no, Audrey. The reason we have what we have with Pink Sweat is the multi-leveled anonymities of those filmed, including residuals." JERRY: "Residuals, Audrey." Audrey moves forward and taps Jerry's forehead. AUDREY: "Don't make me go over your head, Uncle Jerry." JERRY: "What are we talking here?" Audrey passes the joint to Jerry. BEN: "No, no, no, and no, the both of you!" AUDREY: "The four of us. Bobby owns 25% too, Daddy." Ben is steaming up for an argument, when FREEZE FRAME. Gerard's contorted right arm appears in green fractal sprays as it reaches in from Act 11 [Asylum] and touches Ben's forehead. Arm withdraws. END FREEZE FRAME. Ben rubs his temples. Audrey smiles. Jerry blows out a puff. Ben considers. Pulls out cigarette case, opens it. We see a variety of carrots. AUDREY: "For Laura, Daddy." Ben selects a black carrot, and chomps. Jerry puzzled. Audrey smiles. AUDREY: "I love you, Daddy." COOPERFLUX: "I feel like I know her, but sometimes my mind freezes backwards." LAURAFLUX: "Audrey Horne, the One Woman Legged." Giant appears. GIANT: "Meanwhile ..."

S3:E11: ACT NINE (CGI) [Entire act glimmers with electrically separated tiny gaps between all screen elements: locations, buildings, characters, eyes, lips, wardrobe, douglas firs, owls, stop lights, street stripes, hog's headlight, et cetera.]

EXTS. SPARKWOOD & 21, TWIN PEAKS STREETS, GREAT NORTHERN WATERFALL - NIGHT

Streets wet, black, shiny. James & Donna on hog speed through red light at Sparkwood & 21\. Donna watches the light turn to red, yellow and green blinking all at once, then blink to Purple, Orange, Blue. As James speeds up, Donna looks spooked. She clutches closer to James. Staying with them as James navigates streets, driving by Big Ed's House & Gas Farm in a blur, not noticing hanging door. DONNA: "James! You got to stop!" JAMES: "We're almost there!" James turns on main street to Great Northern, passing Sheriff's station in far distance. Instead of continuing up hill to Great Northern, he heads down side road to Waterfall. He stops. They disembark. DONNA: "Did you get them?" James grins, opens saddlebag. Therein, a donut box and four coffees. JAMES: "Why did you want me to stop at the Double R? Shelly was there." DONNA: "My arm. Even Daddy can't find anything wrong with it. Coffee helps. Speaking of my Father, there's my biological, up there, all three Hornes up on their perch." Donna points to Audrey, Ben, Jerry in distance at top of falls, even as her point begins to contort. Donna's contorted left arm disappears in green fractal sprays as it reaches into Act 10 [City Hall] and touches Albert's forehead. BACK TO WATERFALL. Arm withdraws to normal. Donna holds her arm and weeps. JAMES: "We are getting out of here!" DONNA: "No! We have to wait for Laura!" James kisses Donna. JAMES: "We have to go!" They get on hog and James and Donna drive away. Lauraflux and Cooperflux watch, holding hands, stoic. LAURAFLUX: "She'll be the first to see." COOPERFLUX: "Before Margaret? Before Sarah? Before Garland? Before me?" LAURAFLUX: "Before All."

EXT. PALMER HOUSE - MOMENTS LATER - NIGHT

Through curtains, Palmer House windows show multiple shadows moving slowly in all rooms. James and Donna drive by. JAMES: "Who's inside the Palmer House?" DONNA: "Drive, James. That owl is getting closer." They speed off.

INT. PALMER HOUSE -LIVING ROOM & STAIRS - NIGHT

In the darkness: DANIEL?/LELAND? (VO): "Who's inside the Palmer House!" BOB?/ROBBY? (VO) "Who's inside the Palmer House!" LAURAVOICE (VO): "Evil's inside the Palmer House." Lauraflux and Cooperflux watch, holding hands, stoic. LAURAFLUX: "I did not take the ring, the ring did not take me." Sarah at the bottom of stairs. She gasps slightly, seeing Leland, Daniel, Lauralike, Maddylike, Bob, Robby. She doesn't scream. Audrey's contorted left arm appears in green fractal sprays as it reaches in from Act 8 [Great Northern] and touches Sarah's forehead. Arm withdraws. Sarah smiles. SARAH: "Well, what in f*ck do you know about this!" All but Lauralike begin to crawl over furniture like Bob, towards Sarah in slow, contorted motion. Lauralike and Sarah stare at each other. Closer. Slower contorted motion on crawlers. SARAH: "You ready, sweetie?" LAURALIKE: "Let's rock." Though slower, crawlers speak disturbingly at normal rate, making their still faces jiggle with strange ripples. MADDYLIKE: "I'm not you're sweetie, Aunt Mommy!" Slower. BOB: "Bitch, I'm home!" Slower. LELAND: "Wash your f*cking hands!" Slower. ROBBY: "It's your turn, bitch!" Slowest. DANIEL: "Im going to bash your brains in with your bat!" Sarah smiles, picks up her cell phone, dials. SARAH: "... Beth? ... It's Sarah. Put Garland on. ... Do you believe me?" Sarah whips around to the encroaching crawlers. Sarah flicks switch. Where the ceiling fan was, where once the fire burned, now a brilliant floor-to-ceiling crystal chandelier blazes with dazzling light and spectra. SARAH: "Get thee behind me! Light, walk with me!" All but Lauraflux, Cooperflux, and Sarah disappear. Sarah sits down, pours a brandy, sips. Sarah smiles. She scratches her head. Does Sarah's _wig_ move? Is this Beth? BETH?/SARAH?/SARAHBETH?: "Meanwhile..."

S3:E11: ACT TEN (CGI) [Most of entire act viewed off mirrored reflection of sword, and is therefore reversed left-right, beginning with slow pan into swords, showing huge sign, 'ROYAM' the reverse of 'MAYOR' all other text seen in office reversed.]

INT. CITY HALL - MAYOR'S OFFICE - NIGHT

Albert stares at the reversed picture of shirtless One Armed Man, labeled 'Phillip Michael Gerard' and stands with Mayor Harriet Hayward, Eileen (head bandaged), Joey, and Doc Hayward (arm in cast), at Harriet's desk, beneath two locked swords with a plaque 'TWIN PEAKS', 'ADMINISTRATION'. Donna's contorted left arm appears in green fractal sprays as it reaches in from Act 9 [Waterfall] and touches Albert's forehead. Arm withdraws. Albert stares at Mayor. Harriet, Eileen, and Doc Hayward stare back. HARRIET: "Agent Rosenfield?" The Haywards give questioning looks. HARRIET: "Albert?" Lauraflux and Cooperflux watch, holding hands, stoic. ALBERT: "Something's happening." DOC HAYWARD: "Albert, are you okay?" Albert moves to Cooperflux and Lauraflux, and almost seems to see them. Albert waves his hand, which passes through Cooperflux and Lauraflux. ALBERT: "Right here, right now." LAURAFLUX: "There I am with the mayor." COOPERFLUX: "Laura, please keep Albert quiet." JOEY: "What's going on, Agent Rosenfield?" Albert turns to Joey. ALBERT: "Chief Paulson, what are your preparations for tomorrow's practice celebration?" JOEY: "Well, we have three engines in the parade. Is that what you mean?" Albert looks down, rubs the perspiration from his forehead. ALBERT: "I don't want this. I am going to have a dream tonight. In said dream, all of Twin Peaks will burn to the ground." EILEEN: "Dear God." JOEY: "Albert, dreams are just that, dreams." COOPERFLUX: "Dreams are not just dreams." LAURAFLUX: "Dreams are all I have." ALBERT: "Cooper has been batting zero lately, but something is happening, and its going to happen again tomorrow." HARRIET: "Agent Rosenfield, you know I can't respond with any action based on some cockamamie future dream. Honestly, between you and Cooper, you give me no choice but to lodge a complaint with the Bureau." ALBERT: "Gordon is above us." HARRIET: "Gordon Cole it is." ALBERT: "Chief Paulson, you have to be on high alert." Joey is consternated. HARRIET: "Enough of this! Short of concrete proof, I want this ended now!" ALBERT: "Concrete Proof?" Doc Hayward's left arm and cast begin to shutter. His arm tears from the cast, unblemished, unbroken. Others floored in astonishment. Doc Hayward's contorted left arm disappears in green fractal sprays as it reaches into Act 7 [Double R] and touches Norma's forehead. BACK TO OFFICE. Arm withdraws to normal. COOPERFLUX: "I'm beginning to dream." LAURAFLUX: "About the Asylum?" COOPERFLUX: "Yes, Albert." LAURAFLUX: "Coop, this is strange." DOC HAYWARD: "My God, it's healed! It works! My God!" Eileen stands from her wheelchair and moves to William. Others astonished again. HARRIET: "Mom!? Dad!?" Eileen removes the bandage from her head, again unblemished. ALBERT: "Meanwhile ..."

FADE TO BLACK. In the black, gunshot. Gunshot echoes.

S3:E11: ACT ELEVEN (CGI) [Entire act cracked and aged pieces of broken mirror, tiny pieces falling throughout. The frame of the mirror precisely matches the frame around the picture-frame given to Laura by Tremond, in fact, the edges of mirror hint at the edge of faded rose wall paper room with door, barely visible.]

EXT. TWIN PEAKS ASYLUM COURTYARD - NIGHT

Bam! A steel door is wrenched open. By SuperNadine, in white body stocking sequined in thinnest sheets and particles of holographic cellophane. She sparkles, and with her makeshift plastic wings, and with red ribbons round her pigtails, neck, wrists, ankles and wings, looks somewhere between ridiculous and enchanting. Her body stocking looks as if she is 17 again. Bobby's contorted left arm appears in green fractal sprays as it reaches in from Act 4 [EON] and touches Annie's forehead. Nadine seems to see arm. Arm withdraws. Holding her once-blind eye with her left hand, Nadine coos and blushes. SUPERNADINE: "I'm magical when there's trees in the background." Nadine herds other escapees out: Beth, Gerard, Johnny, Waiter, and Annie. Lauraflux and Cooperflux watch, holding hands, stoic. BETH: "I don't know about my sister, but I'm getting drunk!" Johnny walks by Cooperflux and Lauraflux, Johnny acting and walking uncharacteristically nonchalant. Nadine has fashioned for him a Native American headdress of clear plastic feathers, silent even as they ruffle. JOHNNY: "Hey Laura! What's up? Coop, Coop, Coop, my man!" Johnny hears something, and runs off into woods. WAITER: "Wake up call for 6. Yes, sir. Thank ya kindly. The roses are not what they seem." Waiter gives thumbs up, smiles broad. WAITER: "Coffee. Black as midnight on a moonless night." Waiter's smile drops as he walks to Cooperflux and pats his shoulder. WAITER: "I'm so sorry. I'm so sorry. I'm so sorry." HARD CUT TO INT. ASYLUM - GERARD'S ROOM. Blood everywhere. Albert lies face-up on the floor, his face blank, but on Nurse Roundtree's body, a farmer's scythe in his/her left hand. The face liquefies and melts off, the Vruv7, draining and revealing Nurse Roundtree's face. We see her bloodshot eyes, filled with Nadine's holographic cellophane powder. Especially her left eye. Especially the iris. The powder swirls in holographic fractals midst the blood and tears. Her forehead pixelates ever so slightly where the holographic powder interferes with the pool of Vruv7 liquid filling the blastedout bullet-to-the-back-of-the-head forehead of Roundtree. HARD BACK TO COURTYARD. WAITER: "Eleven you must save." Waiter disappears. Last glimpses of patients as they escape into the woods, all in random directions. Annie stays, looks up to the stars. ANNIE: "Dale, Dale, Dale. God is love. God is everywhere. God is omnipotent. And God is good. Or, Dale, we have science. 66 million years ago, a mere 65.8 million years before homo sapiens appears, a vast world-wide layer of iridium was deposited on Earth through asteroids? Okay, Dale. Iridium, an element in spark plugs, platinum rings, and compass bearings. We all need to know what direction we're going, don't we? So Dale, iridium makes its way into our animals, air, even pies that extraterrestrials, using micro-quantum electromagnetic manipulation of fractal-encoded spacetime possibilities, arcing across millions of light years, send mind-control level delusions straight into the dream center of the human brain? With iridium? Hmm. Not just that, but the enormous task these aliens have of making our dreams and visions consistent with each others? We were both in the Black Lodge, as we discussed that first day. I like to think of it as the internet of dreams and nightmares. These creatures manufactured all these odd occurrences just to produce evil? The sadistic repeated rape then murder of one's own daughters? Sounds more like the Devil. Master of Lies. Master of Flies. Master of Evil. However, Dale, I wish you well. Because, just like in science, chess, deception, and insanity, there are 11 more possibilities headed your way. 12 isn't 11. Roundtree was possessed by the Devil, Dale." Annie flips her hair and runs off into the woods. When she is out of site, we see Gerard tentatively return to where Lauraflux and Cooperflux stand. Gerard looks around. GERARD: "Oh, I can smell you, Bob. And you've brought friends. Am I your friend, Bob?" Gerard passes close to Lauraflux and Cooperflux, seeming to sense them. GERARD: "Lock the doors! Bob is loose! Dig a hole! Bring a noose!" Gerard's contorted right arm disappears in green fractal sprays as it reaches into Act 8 [Great Northern] and touches Ben's forehead. BACK TO COURTYARD. Arm withdraws to normal. INSERT SHOT INT ANNIE'S ROOM. Gunshot. Gunshot echoes. Annie kneels at bedpost and prays. ANNIE: "Meanwhile ..."

S3:E11: ACT TWELVE (CGI) [Entire act in faded grayscale, with only natural reds showing color: lips, fireworks, roses, aurora, et cetera. Entire act inside the slightest spinning vortex. At first only hints of swirling. As act progresses, vortex intensifies. Reds stronger in vortex.]

EXT. EASTER PARK - AT GAZEBO - NIGHT

Around park, beneath red white and (blue) ribbons, the forthcoming celebration: a series of vender booths, seating, staging. Midst other booths & attractions: Rev. Dr. Daniel Palmer 9PM, 'RR Don-Hut', 'Let's Walk! Community Outreach', 'Hornes of Fire' red fire work stand, Lumber Union Lodge #49341, Bookhouse Boys Town Watch, Juliette Renault wanted poster, Happy Helping Hands, Laura Palmer Foundation, Video screen showing view from camera into Park: 'You are live on Pink Sweat'. Seated in the Gazebo: Denise, Ronette, Jacoby. A dozen red roses lay in Ronette's lap. A dozen corn stalks in the Harvest Lady's lap. Jacoby reveals a plump red apple. JACOBY: "Stare at the apple, Ronette." Ronette does. She begins to sway side to side, the Harvest Lady and Jacoby sway. Ronette clicks her crimson-nailed fingers. JACOBY: "You are falling into deep, warm, luxurious sleep, on clouds of billowing and pillowing embrace. The world is fading away as you melt and float into deeper and deeper, calm relaxing slumber." Ronette blinks her eyes. The red Hawaiian hibiscus of Jacoby's floral print shirt blur in vortex. Ronette closes her eyes. RONETTE: "She's here. In the park. Right now." JACOBY: "Are you asleep, Ronette?" Ronette stops her clicks. RONETTE: "Yes." Ronette lifts hand and points into the darkness.

ACROSS PARK - AT GROVE - NIGHT

Hidden in the trees on the far side of the park, Catherine, cloaked in a red fox fur. Several of her thugs behind her. She watches the Gazebo. Catherine's eyes are noticeably bloodshot, almost glowing red, leaving trailers in the vortex swirls. Catherine's red hair tousles like fire in the wind. CATHERINE: "Why is that other plastic girl here?!" Theresa's contorted left arm appears in RED fractal sprays as it reaches in from Act 5 [Black Lodge] and touches Catherine's forehead. Arm withdraws. Catherine turns to a thug. CATHERINE: "Igniting dynamo?" Thug nods.

BACK TO GAZEBO - NIGHT

DENISE: "What do you see, Ronette?" RONETTE: "Fireworks." JACOBY: "Where are you, Ronette?" RONETTE: "Tomorrow." Jacoby and Denise exchange incredulity. Though the park is dark, red fireworks light up Ronette's face. Ronette opens her eyes, glistening with reflections of sparks and explosions in the sky that aren't really there. JACOBY: "What's happening?" RONETTE: "Fire and light. Light the fire." Ronette's face and eyes reflect massive explosions as she watches mortars explode in the sky beneath aurora borealis. Ronette stares into distance. Lauraflux and Cooperflux watch, holding hands, stoic, and turn their gaze from Jacoby, Ronette, and Denise to the far distance and the hospital.

EXT. HOSPITAL - NIGHT

Closer to the hospital and window showing dark silhouette.

BACK TO GROVE

CATHERINE: "Is that little bitch pointing at me!" Catherine shakes her head, eyes aglow. CATHERINE: "Looks like I am forced to take a pawn." An owl lands on Catherine's shoulder. Thugs alarmed. Catherine waves them off. Catherine stares into the owl's eyes. The owl launches into the air, toward the Gazebo. We follow the owl as it screeches in attack pounce toward Ronette. INSERT SHOT: Ronette, nude in plastic, falling from the Packard Tower. BACK TO GAZEBO. Just before the owl strikes: gunshot. Gunshot echoes. The owl spirals down into Harvest Lady's lap and corn stalks. DENISE: "Holy God!" RONETTE: "She's leaving now. I'm Hungry. Spark that J. Is this Mike?" JACOBY: "My God, are you okay!?" DENISE: "I don't think so. No." Denise catches her breath. JACOBY: "Ronette! Wake up." RONETTE: "I can't, for Pete sake. Up is down in upside-down." Ed and Norma appear from Woods, disheveled and harried. Ed holds the smoking infrareddish glowing revolver. Ronette claps her hands once. RONETTE: "Let's rock! Let's roll! Let's walk! Let's Dance!" Denise throws owl to the ground, grabs Ronette, spilling corn stalks falling in tangles with streaks of swirls of roses. DENISE: "Stop faking!" Ronette's contorted left arm disappears in RED fractal sprays as it reaches into Act 1 [Gordon's Plane] and touches Gordon's forehead. BACK TO EASTER PARK. Arm withdraws to normal. Jacoby mystified but enthralled. DENISE: "You know she's faking all this Doctor. None of this is real." JACOBY: "But it is ... strangely real ... and wonderfully unreal." RONETTE: "Sacrifice the King! Live Everywhere! Everyone dies! ... For deep, warm, luxurious apple pie, on clouds of billowing and pillowing ice cream. The world is fading away as this ice cream pie dream melts and floats into deeper and deeper, calm relaxing lusciousness. Queue titles."

INT. HOSPITAL - NIGHT:

The Magician stares out the window to Easter Park in the far distance. Black smoke starts to exude from him. In fact, an increasing tornado of choking smoke and burning fractal embers swirls around him. As everything spins, he disappears. Smoke and embers disappear in swirls. MAGICIAN (VO): "Meanwhile ..."

S3:E12: ACT THIRTEEN (CGI) [Entire act ripples from Dweller]

EXT. SPACE - VIEW FROM EARTH INCLUDING EARTH & MOON

Lauraflux and Cooperflux watch, holding hands, stoic, standing in the stars. Sarah in wedding dress fades in astride black horse and as quickly fades away. Lauraflux and Cooperflux become tiny midst familiar constellations. The Dweller on the Threshold steps into this view of familiar constellations. The Dweller, the transparent cloaked outline made only of stars and nebulae, is now composed of planets, moons, a red giant-white dwarf binary, in front of a starscape in utter turmoil. The remains of a planetary detonation, a trillion smouldering comet-like asteroids spewing gas and smoke and fire form a crude asteroid belt in a contorted chaotic ring around the twin suns. The entire ring glows and spits multiple trails and comet jets everywhere, exciting cosmic lightning, belching across the vaporizing rubble of this hellish colliding molten churning inferno. A gamma ray burst, whose beam could swallow a planet, rips through the belt, evaporating an area the size of Jupiter instantaneously. As we rotate, the Dweller folds and becomes two dimensional. He folds down to a line. When he unfolds, entire view flipflops. The dweller is now composed of view of Earth and Moon and familiar constellations, while Cooperflux and Lauraflux stand in the midst of the hellstorm binary system. The dweller begins to spin, reflecting both systems faster and faster until, spinning ferociously, the Dweller shatters into fragments of glass, which reform into letters in spectacularly refracting dark galactic mirrors. Cooperflux and Lauraflux are multiplied throughout the logo, as is the hellstorm conflagration. Caption appear: ' **W** HO HO **N** E **ST** LY **KI** LLED L **A** URA **P** ALM **E** R?' arranged all serial killer-like. The other letters cut from magazines, floating in space. Those letters ignite, burn, float away, leaving others rearranging to ' **TWIN PEAKS** 'floating in space, in meticulously reticulated black pangalactic mirrors. COOPERFLUX: "How can this be real?" LAURAFLUX: "You're the dreamer, Dale." COOPERFLUX: "Am I dreaming, Laura?" LAURAFLUX: "No, Dale, Albert is dreaming Laura." Lauraflux and Cooperflux fade away. Caption fades away. Laura appears, age 17, seated among the stars in same pose as black lodge, same black gown. This time, her gown is filled with stars. LAURA: "Meanwhile ..." She poses her hands. Where her hands are posed, a splay of 12 tiny contorted human arms, joined at the shoulder, splayed like spider legs, crawl out of the vase and over the stars on its 60 fingers and thumbs. A ring of 12 contorted arms, joined hand-to-shoulder rolls in. Splay enters ring. In clicks, the splay rotates-crawls counterclockwise. Ring clicks clockwise. Each click sounding (compressed): 'Click. Clickity click click. Click.' Twelve clicks, on the twelfth click: The splay bursts to flames, the ring bursts to light. The ring supernovas, diminishing the splay to nothingness. Cooperflux and Lauraflux return. Lauraflux's eyes are white. Cooperflux smiles. COOPERFLUX: "Albert, Phillip is returning. Soon the Log Lady will translate. Open your eyes, and you'll burst into light." Lauraflux blinks once. Her eyes open to dazzling light. LAURAFLUX (mouthed, ALBERT VO): "Meanwhile ..." Caption: 'Midnight March 5.' Quick flashes: FLASH. Sarah with Waldo. FLASH. Sarahbeth with encroaching Lodge crawlers. FLASH. Garland in Eon. FLASH. Cooper at cabin.

INT. LOG LADY'S CABIN

FLASH. Log Lady. Pie devoured. Empty coffee cups. Giant attempts to speak. LOG LADY (to Giant): "Shh. I'll translate." Giant leans in. Log Lady looks up. Cooper watches. LODGE LADY: "I am the Lodge Lady. I am Laura. I am Laura. I am Laura. Many are we, many are they. Throughout our darkest history, throughout our darkest days to come, Evil longs to see, so the Evil One wails across all time, wailing, 'Fire,' or 'sin,' or 'human weakness,' walk with me.' (to Log) In other words, dear, don't let the devil in the front door." Margaret pops some pitch, chews, stares off. We see Cooper standing watching, snapping his fingers to the music. GIANT: "Is it future, or is it past?" LOG LADY: "Hush, you."

FADE TO BLACK.

Two-word perpendicular Captions appear, in spectacularly refracting dark galactic mirrors, except with the intersecting letter, in wood bark brown letters outlined in bright green douglas fir needles; the bark grows; the needles flutter, the needles and mirrors reflect the stars, aurora, fireworks, hellstorm binary, search lights. The wood letters remain and move to top:

'MARGARE **T** LAN **T** ERMAN!' 'KNO **W** **W** HO?' 'L **I** VE TON **I** GHT!' 'HOR **N** E I **N** DUSTRIES' ' **P** REMIERE **P** ENTHOUSE' 'GR **E** AT NORTH **E** RN' 'P **A** RTOUT SIMULT **A** NÉMENT!' 'CLIC **K** ITY CLIC **K** ' 'FANTA **S** TIC **S** HOW!'


	12. Who's Annie?

(First edit)

TWIN PEAKS: EPISODE 12: "WHO'S ANNIE?"

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me & Light Walk With Me cast members.

S3:E12: ACT ONE

INT. SHERIFF'S STATION - CRUISER GARAGE - DAWN (CGI)

Six-vehicle garage, empty of vehicles. Cooper stands at the head of five large round banquet tables, arranged in cross. North table: (strange equipment, laptops): Cooper (standing), to his right: Albert, Sam, (transubstantial Phillip also standing), to Cooper's left: Diane, Gordon, Lil. Center table: Harry, Gerard, Hawk, Raven, Denise, Ronette, Lucy, Andy, Waldo (in center of table). South table: Garland, Betty, Bobby, Audrey, Johnny, Ben, Placide, Waiter. East table: Sarah, Beth, Doc Hayward, Harriet, Wolchezk, Judy, James, Donna. Norma, Shelly, Heidi distribute coffee, pastry. COOPER: "Ladies, thank you, please have a seat." They sit at west table with Log Lady. West table: Log Lady, Ed, Norma, Annie, Jacoby, Heidi, Shelly, Joey. COOPER: "Thank you all for being here. Last night, Chief Nurse Beatrice Roundtree was murdered at the Twin Peaks Asylum and almost a dozen patients escaped. The Twin Peaks Sheriff's Department and the Washington State Police have apprehended all patients, except Nadine Nelson. Some of those patients are here. You may all choose to be cooperating witnesses. You have been fitted with contact lenses and ear devices that masque out everyone's faces and voices. Like a soundproof booth. Watch." We see Norma's eye, which shows peculiar 'swirlization.' POV NORMA. White noise silence. The room is empty, except tables, chairs, FBI agents (no Phillip), Waldo, and just the floating eyes of the remaining 30 people. BACK TO GARAGE. Noise. People chattering. Cooper raises salute. COOPER: "Quiet, please. You do not hear or see anyone right now so that we may interview multiple witnesses simultaneously." Cooper nods to Sam. SAM: "We're live." COOPER: "For example: Norma, how are you today?" NORMA: "Fine, but last night–" Cooper raises salute. COOPER: "Raise your hand if you heard her response." No one raises hand. COOPER: "Good. Answer as freely as you wish. Multiple agents will be asking you questions. Mark." We see respondents' faces, ANGLE from center of table, as our view rotates past each person, their faces fade in then return to floating eyes as they finish speaking. Then next face fades in, in succession. COOPER: "Where were you at midnight?" ANNIE: "Escaping the Home." NORMA: "The Double R, with Ed." ED: "Up at the Double R, with Norma and the gals." SHELLY: "Leaving the Double R." HEIDI: "I was gone by then." JACOBY: "Easter Park." GERARD: "I was reborn. Red ribbon, Red Robert, dead Robert, dead reborn!" GORDON: "Hello, is this thing on? I'm getting interference. Good. Edward Hurley, this is Gordon Cole. Gordon Cole. I can't hear myself. Edward, where were you at 12:48?" ED: "Well, just about then, I shot an owl in Easter Park. Damnedest thing. It was going to attack Doctor Jacoby or Ronette, but it got that Harvest Lady." Cooper lifts his salute. Phillip is looking around guests, but also checks out donuts, coffee, equipment, especially: (N) Gordon, Albert, (W) Annie, Heidi, (C) Hawk, Ronette, Gerard, Waldo, (S) Bobby, Audrey, Waiter, (E) Judy, Donna. He does not inspect Cooper, Log Lady, Garland, Sarah, but skirts by them. Phillip surveys and surveils every expression and every possession, alarmingly quickly, his head jerks and pivots birdlike at times. During Phillip's search, Cooper smiles, watching Phillip. COOPER: "Albert, with your permission?" Albert smiles, throws up his arms. ALBERT: "By all means." COOPER: "When was the shot fired?" ANNIE: "The alarm went off at nine. We were all asleep. There was no gunshot." BETH: "It all started at nine. Never heard the shot. Then that nice Nadine rescued us just before midnight." WAITER: "Wake up call for 9." PLACIDE: "Yes, he's my husband. Jerard, Jerard Renault." WAITER/JERARD: "Jerard, thank ya kindly." Jerard war-whoops. WAITER/JERARD: "And he sounds like that." Jerard thumbs up, smiles. GERARD: "My name? Why it's Phillip, Phillip Michael Gerard, Mike if you will, or just Mr. Gerard, in fact Gerard is what I went by at the factory, course some call me Mikey. Nobody calls me Phil. I feel like I shouldn't talk this way, but you know, sometimes my name has kind of a slither to it, don't you think? My name is Mike. His name is Bob." SARAH: "Bob is near." GERARD: "Bob is not here. Oh, but his friends are here. Four friends inside the circle." WALDO: "Circle. Shut up Circle. Shut up Waldo." LUCY: "I feel like I told you, Agent Cooper, but sometimes Waldo twists things backwards." GERARD: "Come to think of it, it had to have been that Nadine who murdered the Nurse, Nadine Butler, dear me, Hurley, oh my, Nelson, well, heck, Gerard." Gerard grins sheepishly. ALBERT: "You were married?" GERARD: "Oh, yes, right there, right then. We had no rings you see, so we used red ribbons, red punch, red cupcakes, in the dayroom. You know, dayroom playroom prayroom. With this ring, I thee wed." COOPER: "Nadine or her betrothed, the One Armed Man, hand wrapped in her ribbons, murdered Beatrice Roundtree, who was disguised as Albert Rosenfield, at 9pm, simultaneously activating the alarm, and stopping Roundtree, in turn, from murdering Annabelle Blackburn with a threshing scythe. The Vruv7 was used. Major Briggs, how much have we recovered?" Cooper slowly strolls room. GARLAND: "Including the Vruv7 provided by Audrey Horne, and thanks to a tip from venerable Placide Renault, we knew right where to find it in Catherine Martell's boudoir. Our estimates are 90%." GORDON: "10%? Enough to cover the head and neck?" GARLAND: "Affirmative." GORDON: "And this Martell?" ALBERT: "We've issued an arrest warrant for Catherine Packard Martell on possession of stolen federal property." COOPER: "Her whereabouts, unknown." ALBERT: "Something's happening." DIANE: "Dale, its 6 a.m. March 6. Mark." WAITER: "Wake up call for today." WALDO: "Six a.m." Caption: '00:0600:0'. Strange pixelation. HEIDI: "Sketchy." GORDON: "Sam, trust me, I never used the term 'strange pixelation.'" LIL: "Tracking body language." JUDY: "Oh my God, this is so exciting! I've guessed it! You wanna know how!? This is like the master sleuth confronting all the suspects at once, but nobody knows what the others are saying! Gosh I wanna know what's going on so bad I could just pee!" Phillip returns to Judy. PHILLIP: "Yes sir, this is Judy alright. The beginning before the beginning. Why, I feel like I'm riding the white lightning! But sometimes my wings stretch beyond the lightning! Her name is Judy. His name is 'Arm.' His arms bend. Backward to the end. Forward to the beginning. Y'all see?" LOG LADY: "Many owls perched near." ED: "It's just not possible, Agent Cooper. Nadine could not have shot Roundtree with the same gun I used to kill that owl." ANNIE: "How am I? I'm fine. Who am I? I'm Annie. Annie is my name. Annabelle Blackburn. I don't know why Nurse Roundtree would want to murder me. She was troubled, I think, by my faith and my positive words of encouragement to others. A bitter, hateful, envious woman, she grew to despise my vow of silence. My tiniest of protests against the delight she took when perpetrating petty tortures upon her patients. Unscheduled cold sponge baths. Unnecessary liquid and semi-liquid meals. Cream corn. Electroshock." Cooper strolls, clicking his finger. ANDY: "It's a game we play with Waldo, especially since 'B' is off at college. You see, Agent Cooper, I'm 'D' and Lucy is 'C' and we, well one of us hides a treat, then Waldo has to figure it out by his ABCs who to fly to, especially if Waldo says 'let's rock'. That means he's hungry or wants to play. Thing is, Agent Cooper, Waldo's playing a different game, now. We kept hiding the treat, he kept saying 'let's rock,' but kept on landing on the clock. Gosh, I think I sound like Lucy now, but sometimes my stories sound backwards." JACOBY: "No, I don't think Ronette was truly hypnotized. But, my oh my, was I." GERARD: "Clickity click, four by four, flashity flash, eight times eight." HARRY: "Josie's here." HAWK: "A guide does not walk your path. A guide lights your path. Harry, you need to wake up now." RAVEN: "When can I go in?" LUCY: "I seem like I hate him, but myna birds, its like they _'back bendwards'_ or something. (whispers) He's not like all the others." ANDY: "All this stuff, all these things, Waldo feels. It's spooky, Agent Cooper." WALDO: "Spooky Agent Cooper. Shut up Cooper." RONETTE: "That bird? Yes, I feel like it's the same bird, but sometimes my mind wanders, um, everywhichway and worse." DENISE: "Ronette allegedly dreamed Catherine Martell did it in the Park with the candlestick. Ronette with her eyes closed, certainly stoned, perhaps though probably not hypnotized, and showing every classic sign of lying. She's such a little faker. Coop, we should have drinks. Wait a minute." Denise's face looks astonished, enraptured. DENISE: "The owls are made of matter. The pitter-patter of paw power will powder all owl fodder, Cooper." Denise's face returns to normal. DENISE: "Hi, I'm the Harvest Lady. See, faking. Drinks, Coop. Oh, and the answer is cats." Albert smiles. AUDREY: "It was just a cramp. Honestly, Dale. Forgive me for being the one who's floating right now. But I just don't feel any pain." GARLAND: "I'm hearing the message. And yet, instead, I'm speaking these words. Odd." Betty watches Garland as if she could see him. BETTY: "Sarah's always called me Beth." BOBBY: "Wow! This is beyond awesome! This is what I'm talkin'! ... Okay, okay. ... Laura's secrets? What!? Why you asking me now, I'm in uniform? Yeah, so? Huh? Donna? James? What's going on here? Hey, my personal life is mostly that, personal! Are you accusing me of something?" COOPER: "Thank you Deputy Briggs. You were a test subject. Ignore the preceding." Bobby looks perplexed and angry. JOHNNY: "Lau-ra. Lau-ra. Lau-ra." Cooper strolls, clicking, to Ben's table. During Ben's soliloquy, we see POVS COOPER, staring at Audrey. She strokes rubies, stares only at Cooper, smiles. She's dreamy and lost, smiling deeper and blushing. As Ben ends, she lifts an unlit cigarette to her sparkling scarlet lips. BEN: "Daniel Palmer, Lela and Aurora Flying Eagle, and Roberto Palmer, were officially, shall we say, 'let go.' Yes, Bobby, and especially my dear Audrey, have convinced me that we are on a mission. Indeed, a march toward victory, gentlemen and gentle ladies, to wit, I am an open book. I must, under different venue, inform you of my and Catherine's business entanglements. Many. ... The collar, yes. I set her up. In case the fair lady were guilty, promising her all sorts of things. Interests in more of my holdings. If only were she to retrieve the collar once round our dear arsonist Leo Johnson's neck. Noosed like some outlaw yanky, doing her bidding. And thus confirming to the world she is textbook guilty of this depraved sadistic defilement of Laura. And it seems, lo and behold, the collar is missing." Ben opens his cigarette case, feels for a carrot, yellow, chomps. BEN: "So, please, generals, someone, tell me whether I am to start divestiture and forfeiture and, dear Lord, the penalty clauses! I may survive them, though, owing to Catherine's penchant for criminal wrongdoing and financial malfeasance. So, it seems only natural for her to orchestrate these outrageous desecrations upon the decency of honest folk and gentle benefactors." Ben crunches carrot. "But Catherine loves money. How, in any way, does grave robbing make her money? This may cost me millions if we win, and sorrow, gentlemen, genuine sorrow, should we loose this brave endeavor!" Cooper removes Audrey's cigarette. COOPER: "Smoking is prohibited, Miss Horne." AUDREY: "Yes sir, Agent Cooper! Yes. I am the Mistress of Ceremonies at the festivities tonight. I light the torch. It's symbolic, no matter what Bobby dreamed. I'll be waiting for you. In red satin and silk. ... Okay. ... Really? ... Okay, I understand." Audrey smiles deep. PLACIDE: "Officer Cooper, my Juliette is blameless. ... That's right, Officer Cooper, I heard about that magic mirror Catherine had, from Juliette. But I've known about that for nearly ever. She told me, before all this, if anything should befall her, tell the Ribbon Man about the magic mirror. Juliette told me to tell the Ribbon Man. Yes, Major Briggs, the Ribbon Man." WAITER/JERARD: "She's full of coffee!" PLACIDE: "Juliette? Yes, Officer Cooper. Thank you, Officer Cooper." SARAH: "Bob is not in Leo's cage." DONNA: "Tell Hawk he's got to go to Sparkwood and 21." JAMES: "Everything's gone so weird." Log Lady's log sparks with green and red micro-strobes of embers blinking in and out of existence, in orbits about the log. Log Lady blankly chews pitch. LOG LADY: "Sparkwood." BETH: "No, Agent Cooper, that was a dream I had years ago. I dreamt I was Sarah. Sarah fighting her demons. Pfft! You think _Sarah_ had dreams. Pfft! Let me tell you about dreams. _That chandelier!_ Those nasty relatives before I ever got to Twin Peaks. I dreamt you and another Laura with a man seeming standing beside her. He was a good man. My Maddy was there but she was not there..." INSERT BETH'S DESCRIPTION: [BETH (VO, heavy filter): "Yet beyond my dream, I saw hurricanes and anti-hurricanes in vortices of dazzling mirrorlike starlight, twirling inward and whirling outward, bound around the x, y, and z planes of some impossible ever gathering ever radiating gyroscopic ultragalactic resplendence.] BACK TO BETH. BETH: "My dreams plague my nights and haunt my days. Just like Nadine. Dear Nadine." DOC HAYWARD: "Albert, you know I was with you and my family at midnight. Didn't see or feel a thing when my arm went haywire. No, Albert I'm not lying. I lied about Leland to spare Sarah." HARRIET: "This one's up to the Town." WOLCHEZK: "Parallels and perpendiculars." JOEY: "I got the Bookhouse Boys Volunteer Fire Department notified. I'm ready to vote yea on EAM." BOBBY: "Yeah, I got into the evidence room. To get the Vruv7. No, I didn't take the collar!" NORMA: "There's almost a direct path through the woods behind the Gas Farm to the Park, along the lake, past the sanitarium on the hill across from the Great Northern." DIANE: "Checking 3D modeling." INSERT SHOT - CGI 3D LANDSCAPE - TWIN PEAKS. We see Horne observatory digitally displayed atop one of Twin Peaks' two peaks. Angle from One Eyed Jacks. Zooming into town, kilometers a second, from One Eyed Jacks over docks over lake, through Ghostwood Forest, past Catherine's House down lake to old mill and tower down lake to great Northern and waterfall. Slower zooming past lookout down falls down river turning to show Sheriff's Station, to arrive at Easter Park and digital representations of booths, around lake near gazebo. Then zooming through woods, to the flashing digital representation of the old revolver out back of Big Ed's Gas Farm. Angle turns to show the sanitarium on a far opposing hill. END SHOT. DIANE: "Yes, that angle of the hidden gun at the Gas Farm is barely visible from the Sanitarium. But, a 60-year-old Nadine Nelson, once blind in one eye, spots the same gun from miles away hours beforehand, escapes, runs two and a half miles unseen, grabs revolver, rips what we know to be a fourth door off its hinges, attempts entry into a second property, owned by E. Hurley, scurries back to TPA, executes Roundtree at precisely 9:00 the moment an alarm goes off, then herds the other escapees out at midnight, making her third trip back to Hurley properties, in the time it took Norma Hurley, whose shift ended and store closed at midnight, in those few minutes, this world class sprinter returned to the property, replaced the gun, ran back into the Hurley house a second time, to further vandalize property? And she was dressed as a pixy? In white? Without anyone noticing this at the Sanitarium or in town or on any of the touted 2000 camera angles of Pink Sweat? For three hours? Impossible. May I suggest collusion between the ex-husband, Edward Hurley, and his first wife of 18 years, Nadine Hurley Nelson? May I also interject that Norma Hurley, current wife, is the only corroborating witness as to these times? Age 60, mentally disordered, invisible, once half blind, 8 miles, 4 doors, and a partridge in a pear tree." ALBERT: "God, I love this woman." DIANE: "May I interview the suspect's current Husband, one Michael Nelson?" We see Heidi, agitated. SHELLY: "I thought Heidi left just before me." COOPER: "Albert! These visions and dreams we have been witnessing may be coming from others! Someone's dreaming, Albert. Margaret and Annabelle assert we are fighting the Devil, demons, noncorporeal manifestations of evil. But, Agents, I put it to you, we are fighting criminals. There are two ways to stop the evil that people do. Enlighten minds to a better path. Preempt or punish all wrongdoing. Whether these criminals are influenced by the Black Lodge, hell, or any other malevolent force, each person has the power to choose, to let evil consume them and face justice. If we are to learn from Laura, we must not let the evil in. Crimes are committed by individuals, not by noncorporeal creatures. Laura never let them take her. I fear others may not be so fortunate." SAM: "I'm getting weird digitalization." ALBERT: "Cooper, Cooper, Cooper." COOPER: "Laura, Laura, Laura." Waldo freaks out, screeching. "Laura! Laura! Laura!" HEIDI: "CREAMED CORN!" WALDO: "CREAMED CORN!" Heidi goes ape-sh*t wild, frenetically barreling over people chairs tables, wiping the lenses from her eyes. She knocks over Shelly next to her. Heidi leaps up and over tables like a flailing feral trapped animal, jumping donuts coffee. Bedlam. Everyone blind. SLOW MOTION. Agents drawing weapons. People screaming. HAWK: "Now." Harry wipes away contacts. Waldo in flight. Heidi savages toward Andy. Waldo swoops, she ducks. She grabs Andy's gun. She catapults past Lucy toward Johnny and Ben. Johnny protects Audrey, though he is blind? Ben stands. Heidi stops, fires next to Ben's ear. Phillip jumps in front of Cooper, who is jumping in front of Judy as shot is fired. Cooper grabs Phillip. Phillip's white suit glows as he becomes substantial. Phillip is hit in chest with bullet ULTRASLOW MOTION. The bullet passes through Cooper's ring and finger (clutching Phillip's chest) then through Phillip's chest and heart out Phillips back, stopping against Cooper's bulletproof vest. NORMAL MOTION. As Cooper and Phillip fall. Second gunshot. Harry has shot Heidi who is unconscious. Ben falls. Phillip begins to fade away. PHILLIP: "Black Lodge. White Lodge. Red light. Green light." Others shocked, flabbergasted. Phillip gone. STROBE FLASH FREEZE FRAME. Flashity flash. Evil Dale appears. Flash. Red suit. Fluctuating necktie. WALDO: "Spooky Agent Cooper. Shut up Cooper." EVIL DALE (backwards speak): "Would you like to play a game, little boy? How's Annie? King me!" Cooper stands, though his body remains on the floor. Everyone frozen accept Evil Dale, Cooper, Log Lady, Garland, Jerard, Sarah. Log Lady voraciously eats donuts and drinks other people's coffee. EVIL DALE: "I've got good news! In Twin Peaks tonight: Everyone murdering everybody, everywhere, for everyone to see every time, all at once. Fire, walk with everyone!" As music plays backwards, Evil Dale backwards-clicks his fingers, smiling. Strobe begins. As Evil Dale dances, he blinks his eyes and clicks his fingers like syncopated SuperCooper, we shall call him 'Real Evil Dale' or 'R.E.D'. Red's blinks are syncopated to music's every nuance, in CGI perfect timing. Each eye digitally blinks between states: Normal, Doppelganger, Fire, Fractals, Blackness, Jade, Rotted, Stars, Garmonbozia, Oil/Coffee, Powder, Owl, Electricity. As does his necktie. RED (backwards speak): "Garmonbozia." SARAH: "Hush, you." NORMAL MOTION. Red disappears. Cooper jumps to his feet. COOPER: "Everyone calm! Remove your lenses immediately! Do not move from your places!" GORDON: "My God, Coop! Were you hit!?" COOPER: "I'm fine, Gordon." Everyone chattering, shaken, removing lenses. ALBERT: "Quiet! Doctors Hayward and Jacoby, Chief Paulson, assist with the injured." Albert checks out Cooper. Jacoby, Joey, Doc Hayward move to Ben and Heidi. Crash boom bang! More screams. COOPER: "Silence! Everyone down!" Cooper motions crowd to be quiet. Agents and Sheriffs draw guns. Another crash. HARRY (whispered): "Cappy?" Door to garage squeals and crashes as it is torn from its hinges. More screams. Nadine. Her pixy costume in tatters, she carries Mike, uniform in tatters, in both arms. Mike frantically motions for no one to interfere, Nadine's left arm a bit tight around his neck and chest. NADINE: "Husbands and wives! Oh, Donna, a little birdy told me its hard for you not having the man you want, but Mike and I are dating again! I feel like Mikey knows his little brown mouse is a swan princess now, but sometimes my mind flies elsewhere elseways..." COOPER: "Nadine Butler! I haven't seen you since high school!" Nadine entranced, smiles, coos. NADINE: "Oh ... ?" COOPER: "Dale. Dale Cooper. You remember, TP High! You and Me and Eddy and Norma and Hank and Harry and Mike and Bobby and Donna and James and Laura and Audrey and Jacques and Blackie. You went to high school with Laura?" Nadine looks lost. JACOBY: "Yes, Nadine, tell us about Laura." Nadine lets loose of Mike. NADINE: "Laura? Who's Laura? Who ... who ... who ..." Nadine feints as: Catherine enters, with a bevy of Lawyers including Neff. Nadine topples over with Mike. CATHERINE: "Another f*cking freak show!" Hawk and Andy move to arrest her, as a glassy-eyed Andy retrieves his gun. Waldo lands. HAWK: "Catherine Martell, you are under arrest for illegal possession of Federal Property." DOC HAYWARD: "I can't find a bullet wound." Cooper snaps his finger. COOPER: "Restrain ..." NORMA: "Heidi Vogel." COOPER: "Restrain Miss Vogel." CATHERINE: "You best make your next move wisely, Mr. Cooper. And before you touch me, know this: that creature with the hunched up back dredged that Air Force thing out of the lake. What was I to do? So I accepted her strange gift. Yes, I unwittingly accepted a peculiar unique bauble. I have many. A trinket from a twisted sick deformity of mind and body our dear Juliette has become, hasn't she? Tricking me with stolen property. She is a Renault, after all. And she planned that awful charade with the Horne Girl and with the same squishy mirror. Perhaps that squishy thing is what's causing all those deformities and this mischief, maybe Juliette's hump is full of squishyness! Tsk tsk tsk. She's the one who gave it to Audrey a while back, if I recall. Why isn't Audrey Horne behind bars? Shots fired in the owl cave? At you, Sheriff Hill. The Hunchback and the Queen of Tarts using that stolen stuff for all manner of malfeasance! Hmph. All that evidence points toward only one conclusion. The Hunchback and her accomplices Leo Johnson and Audrey Horne are guilty of everything! That Laura business. Stolen property. Firing on law enforcement? And Juliette's still on the loose? She belongs in that nuthouse with that Horne Boy. Why don't you investigate Audrey Horne? I think that squishy thing she once wore on her tawdry legs could have easily been wrapped around her face, allowing her to impersonate anyone! All those days she was 'missing' to Seattle on more shenanigans. Like that villainess Josie. We all know Audrey opposed her brother's imprisonment. She gets everything she wants. She pays for everything else. What I think is Mz. Horne once again paid Juliette to release our dear crazy kooky Nadine, thereby Mizzy Horne's lunatic brother Johnny, so Juliette could, what, murder the Nurse? Audrey despised Beatrice, didn't she? Who could ignore tawdry Audrey's tale? Maybe its who she's sleeping with that day, hmm, Mr. Cooper?" Gerard vehemently shakes his finger accusingly at Catherine. GERARD: "I'm not going to talk about Judy! In fact, we're not going to talk about Judy at all! We're going to leave her out of this!" JUDY: "Okay, that I did not see coming." CATHERINE: "Freak show! This town is a consummate wall to wall bamboozled freak show! Are you happy, Agent Cooper? Bamboozling a circus, five miles deep!?" Albert and Cooper exchange a glance.

S3:E12: ACT TWO

EXT. THEN INT. ONE EYED JACKS - LATER - MORNING

Down an unknown woman's green-lace-stockinged leg slides a tarot card. The 'Deck' card. This card shows all cards of the Tarot deck, all at once in tiny grids, and on the other half of card, across from graphic of mirror, their reverses. The card slips down her gam and lands spinning on the marble floor. Audrey stoops over and picks up the card. She looks into it intensely. AUDREY: "Mrs. Dale Cooper. Audrey Cooper Horne Briggs. Audrey Cooper. Mr. and Mrs. Cooper." Audrey's eyes are glassy. She sparks a joint. She dials her cell phone. AUDREY: "Juliette, I know they will relay this message to you. I need you, ASAP. Dale wants me to wear green tonight! You must sew for me!" She exhales a hit. AUDREY: "I'll give you One Eyed Jacks."

INT. SHERIFF'S STATION - CONFERENCE ROOM - MORNING (CGI)

Caption: '00:09:00:0.' COOPER: "I'm forgetting something." Cooper regards 'rings' of 6 donuts each, ring of glazed, German chocolate, Pienuts... ALBERT: "Okay, well, while you ruminate..." ...Green jell topped, lemon filling topped, cherry filling topped. ALBERT: "Martell and Johnson arrested. The Pixy, Benjamin Horne, oh, and Frau 'Cream Corn,' all in comas. Comas, Cooper." Albert lifts one of the green jell topped donuts and sniffs it. He sets it back. ALBERT: "O, where o where can the Hunchback be? This fairy tale don't make any sense, Coop." Knock on door. Placide and Jerard wheel in Juliette, bound to chair. Albert and Cooper exchange surprised looks. Juliette grasps a piece of green silk. Three Renault 'ghosts' we shall call them, appear: Jean, Jacques, and Bernard Renault. Only Cooper seems to see or hear them. ALBERT: "Okay, this makes perfect sense." Albert regards Cooper, who watches vision. ALBERT: "Coop?" BERNARD: "Cooper." JACQUES: "Cooper." JEAN: "Cooper." PLACIDE: "My girl is not guilty. You are the only one who knows that, Agent Cooper." WAITER/JERARD: "Little girl. She's my cousine." PLACIDE: "Time to get you back to the hospital, Jerard." Jerard thumbs up then waves to his three sons as the Renault ghosts fade away. Placide and Jerard exit. ALBERT: "What are you staring at, Coop? We just got handed our last suspect!" COOPER: "It's nothing Albert." Cooper regards Juliette. COOPER: "You must be strong, Juliette. Don't let the dead girl tie your tongue. Take your time." JULIETTE: "There are t-times I am asleep and dreaming, Agent C-c-c..." Juliette looks up apologetically. COOPER: "Parfait, Juliette." Juliette smiles. JULIETTE: "I think I know the dead girl, but sometimes it all seems backwards, three times. Me backwards then the dead girl backwards then the red man backwards." COOPER: "Red Man?" JULIETTE: "The little man in the red suit. He's all grown up now, in so many ways. He's the one you're looking for, isn't he, Agent C-c-c...?" Cooper opens Juliette's hand gently and removes the green silk. He holds her hands and looks deep into her eyes. COOPER: "Tell me about the Owl Cave." JULIETTE: "I d-didn't know the p-policeman..." COOPER: "Sheriff Hawk Hill." JULIETTE: "I thought he w-was p-p-part of the g-game." COOPER: "How did you fake having no pulse?" Juliette looks down, ashamed. JULIETTE: "M-my d-deformity." Juliette reveals her neck and part of her back, showing the abnormal growth over both. Cooper raises her chin. She tries to hide her tears. COOPER: "Juliette, stick to the truth and to the light and they shall set you free." JULIETTE: "Au-audrey Horne, sh-she talks like you, Agent C-c-c... Sh-she convinced me. I'm n-not a c-criminal. Help me, Agent Coo-per." COOPER: "And Laura?" JULIETTE: "I l-loved Laura, sh-she was k-kind to me. I n-never did anything to L-L-L." Juliette weeps. Cooper unties her restraints. ALBERT: "Juliette Renault, you are under arrest for conspiracy in the desecration of the grave of Laura Palmer. You have the right to remain silent. Anything you say or do may be held against you in a court of law-" COOPER: "Coffee!" ALBERT: "...may be held against you in a court of law. You have the right to an attorney..."

INT. SHERIFF'S STATION - INTERROGATION ROOM - LATER - MORNING

Mike and Bobby sit in room. Mike shrugs, shaking his head, downcast. MIKE: "What's happening, Bobby?" Bobby snickers. MIKE: "This ain't funny, Bopper. She killed some nurse. She could have killed me!" BOBBY: "Shut up, Snake, listen. Don't protect her. Tell them the truth." Knock on door. Cooper and Diane enter. COOPER: "Mike and Bobby! How strange and how far you both have come. Both of you on the right side of law enforcement. Aces! This is Agent Evans. She will be asking all the questions. Officer Briggs, please remain." BOBBY: "Is this a test?" Cooper smiles. COOPER: "Yes it is, Bobby, for all of us." DIANE: "Mr. Nelson, yesterday, you were on duty when?" MIKE: "11 to 7 this morning." DIANE: "What time were you abducted by Nadine Nelson?" Bobby smiles, Mike doesn't appreciate it. MIKE: "About 5 a.m. Listen, is she okay?" COOPER: "Michael, look at me. Your wife is in a coma." Mike and Bobby react. MIKE: "What!? Whoa. No way, she's seriously literally stronger than a f*ckin horse."

EXT. SPARKWOOD & 21 - LATER - DAY

Hawk's Sheriff's SUV pulls up, showing Hawk in sunglasses.

INT. HAWK'S SUV - CONTINUOUS (CGI)

Close on Hawk and his shades. POV HAWK looking at stop light. The light is green, but shows blue through his shades. Hawk watches. The light changes from blue (green) to white (yellow) to red (red). HAWK (to radio): "Lucy, 13:21, Sparkwood and 21, all's well." Mixed in the noise of Hawk pulling forward: LAURA (VO, whispered): "Donna." LUCY (VO): "Copy, Sheriff."

EXT. EASTER PARK - THE CELEBRATION - LATER - DUSK

PANNING around park: Many people. Trees and booths in red satin ribbons, silver foil starbursts, and tousling tangles of blue tinsel. During PAN, only Hawk seems to follow pan of camera. Shelly, Ed, Norma at RR Don-Hut. 'Let's Walk! Community Outreach' Booth unmanned. 'Hornes of Fire' fire work stand ablaze in red ribbons, Julie handling a line of high school students working booth with lines of customers. Two dark bushy bearded Lumberjacks smoking vapes, sipping on steins, feet up, in unlit booth Lodge 49341. Joey stands outside Bookhouse Boys Town Watch booth, staffed by Scotty. Judy and Hawk at Happy Helping Hands as Judy talks nonstop, Hawk watches watcher (camera). Lana sits with Sarah (in formal black gown) in 'living room' style parlor/booth of the Laura Palmer Foundation. Eolani, Jacoby, Harvest Lady, and Ronette at Eolani's eatery booth: 'Aloha nā moe.' Bobby and Garland, both in uniform, stroll toward Audubon Society Booth with Lucy, Andy, Gersten, Betty, and Waldo. People in audience in front of stage: Eileen and Will and SarahBeth? who is dressed in same black gown as Sarah in LPF Booth. Peter Milford with camerawoman. Nancy and Nicky silently stare toward stage. James and Donna in Gazebo, stare toward Foundation.

AT DON-HUT

Smiling, Shelly laces three breadstick-like donuts together with red licorice ropes. She deftly adds a ribbon of blueberry frosting to each side of the triangle. She hides her hands. To a boy and a girl watching eagerly: SHELLY: "Now it pops!" She slaps her hands together, powdered sugar explodes everywhere, mostly on the donut. SHELLY: "With magic powered lemon dust!" Kids' eyes and smiles widen. Shelly hands them the oversize triangle pastry by its dangling red licorice tassels. Ed and Norma in booth, holding each other. NORMA: "Ed, what's happening?" ED: "Well, darling, I think the strange just got a whole lot stranger." NORMA: "Ed, I've known Heidi, we both have, for going on 30 years. I'm lost. Creamed corn?" Norma shrugs and breaks embrace. NORMA: "James and Donna were at that table. Anyone could have been hit. I didn't know Heidi even knew Judy, except as a customer. I knew Heidi didn't like Margaret, but Judy? You know what Heidi said when she heard about 'The pies are all that they seem' coming from Margaret? She said, (German accent) 'Ridiculous! Side show! That Log Lady going to be Meals With Wheels locked up with sick-heads on the hill. Take tick-infested log and burn ticks weevils termites. That stump she carries, worse than dog at counter. Dogs don't tip.' (end accent) Ed, are people just going crazy?" ED: "I don't think so, dear. Don't you worry, sweetheart, we got you covered." Ed gives Bookhouse Boys sign. Shelly gives Bookhouse Girls sign: finger swipe on temple, yes, but lingering down ear to lobe and earing. Shelly frowns, realizing she has smudged herself with dust. As she cleans up, she looks under the counter to a bin of powdered sugar and a semiautomatic handgun, coated in magic powered lemon dust. NORMA: "Ed, sometimes I think we need to get out. Let James handle everything at Big Ed's. I was going to promote Hiedi and Shelly from managers to part owners. My half, not yours. Just get out. Leo's release got me thinking about Hank again. He's my Nadine. And he's eligible for parole in less than 3 months. Now it seems worse every which way." ED: "Cooper and Harry will find out what they need to know about Heidi. You're worried about Nadine." NORMA: "Ed, listen to me. She escapes, you see her, you kill her on site." Ed frowns. ED: "It'll never come down to that, darling." A tear drops from Norma's eye as she hangs her head. Ed lifts her chin, wipes her tear, and takes her into a deep embrace.

AT FAR END OF PARK (CGI)

Waterfall in far distance. Droplets falling from trees. Daniel is hit by a droplet and wipes it away. DANIEL: "We're cancelled. Caput. Done. We don't even have a show tonight! Biggest Pink Sweat Blowout ever! We should never have come here! Well, it's back to Missoula Montana!" AURORA: "Daddy, don't be mad." Daniel grabs Aurora. DANIEL: "Don't you call me that you little slut!" Lela grabs Daniel. Robby joins in. LELA: "Stop it! Stop it both of you!" Daniel releases Aurora. ROBBY: "Yeah, Daddy, Granddaddy, Unc, or cousin!" Daniel relents. ROBBY: "You know what kind of dream I am. There are things you can't get anywhere, but we dream they can be found in other people. Say it again, Laura." AURORA: "Daddy, don't be mad." DANIEL: "Of course not, sweetie, I love you." LELA: "Uncle Leland?" Daniel turns to Lela. DANIEL: "Madeline? Maddy? Is that you?" A droplet obscures our view to:

INT. DOUGLAS FIR ROOM (CGI)

The carved wood walls reflect flickers from a fireplace wrought with crackling embers and snapping cedar logs. HARRY: "I'm not really here, am I?" JOSIE: "Oh, Harry." Josie turns away. Harry turns her around to face him. HARRY: "Why can't you just tell me what's going on?" JOSIE: "Oh, Harry. It wouldn't make you happy. It wouldn't make any sense. And it wouldn't make any difference." HARRY: "God, you're beautiful. But why can't I remember any of this? Margaret threw her log in the fire, and then, something happened, and then Margaret threw her log in the ... fire." Josie blushes. JOSIE: "Can't you see, Harry? None of that matters. Just you and me. And its up to you." MALE VOICE: "Perhaps I can help." Josie and Harry turn to see a white bearded senior lumberjack holding a lantern, who fades in from transubstantial in sparks of green and red micro-strobes of embers blinking in and out of existence, in orbits about the lumberjack. LANTERN MAN: "I am the Log. I am Margaret's Husband. I am the Lantern Man."

INT. LOG LADY'S CABIN - KITCHEN - DAY

Margaret, Garland, Sarah, Cooper sit around tea table with accouterments in Margaret's rustic appointed sun room. COOPER: "When did this happen?" MARGARET: "Hush, you. This is for the ladies. Sarah, is there anything I can get you? I can make anything in a jiffy. I've got your favorite scotch." SARAH: "I'd love a belt! Thank you, Maggie." MARGARET: "Straight up?" SARAH: "Pfft! Nope, just a spill in a mug of black boiling java. I won't hurt myself, I promise. I've never felt stronger in my life, like Nadine. Dear Nadine. Dear Lord." GARLAND: "Nadine is not so sweet as a rose, who reveals its nature with a thorn..." MARGARET: "Hush, you. (to Sarah) Double shot of java or scotch?" SARAH: "What do you think? MARGARET: "Java it is." Sarah and Margaret giggle. Cooper and Garland seem perplexed at the ladies. Margaret sits down next to her log in its resting place cradle. MARGARET: "I am the Translator. I am the Log Lady." Margaret nods to Garland. GARLAND: "I am the Message. I am the Ribbon Man." Margaret nods to Sarah. SARAH: "I am the Receiver. I am the Dream Lady." Margaret nods to Cooper. COOPER: "I am the Sender. I am the One Eyed Man." Cooper winks. Others look at Cooper. SARAH: "Well, Maggie, what you waiting for? Translate that." Margaret puts her log in her lap. LOG LADY: "I am the Log Lady, I am the past. I am the Ribbon Man, I am the present. I am the One Eyed Man, I am the future." SARAH: "And what am I supposed to be?" Sarah takes a swift belt. LOG LADY: "I am the Dream Lady, I am possibility. I am spacetime. I am quantum. I am imagination. I am everything real. I am everything unreal. I am hope. I am the Dream Lady. I am Laura's Mother." Sarah melts into a warm smile. Sarah's reflection in her coffee.

BACK TO EASTER PARK AT PARK BENCH - DUSK

Log Lady chews pitch. Spits it behind bench. Shuffles some wet dirt on it. She pops another piece. She tears a piece of sponge cake off her plate and tosses it into some nearby trees. A crow lands. It looks at morsel, looks to Log Lady. Log lady looks down to log. Pats it. She nods, crow seizes morsel, flies off.

AT STAGE AND SEATING

Doc Hayward talks to Eileen. He has no cast, she has only a small bandage on her head. Although she is not in her wheelchair, it is nearby. Doc Hayward frowns. DOC HAYWARD: "Got to get back to the hospital. Nadine." EILEEN: "Will, are you going to tell her?" DOC HAYWARD: "Eileen, dammit, I told you, there's no sense in telling her anything. We haven't been exposed to anything. My arm, your legs, her eye, they aren't miracles. But dammit, I'm going to find out though." Sarahbeth pats Will's shoulder. SARAHBETH: "Miracles happen every day. I'm living proof. Every day." We see an ankle bracelet monitor on Sarahbeth.

AT AUDUBON SOCIETY BOOTH

Lucy, Andy, Gersten, Betty, and Waldo. Gersten and Betty helping a customer. Gersten seems to have a headache. LUCY: "All this craziness with Waldo, and Agent Cooper assigns us here? The FBI taking over _my_ dispatch! Ooo! (to Waldo) That cage you hate is going to come back into style." Garland and Bobby walk up. Garland kisses Betty's cheek. GARLAND: "Hello dear. How's everything?" Bobby stares over to Shelly at Don-Hut. ANDY: "Hi, Bobby." BOBBY: "Hey, Andy." Lucy and Andy stare at Waldo, anticipating. BOBBY: "Hey, Lucy, what's up with that f*cking bird anyway?" Betty stops Garland from speaking. LUCY: "Shut up, Bobby." People surprised. LUCY: "Shut up, Waldo." People perplexed. ANDY: "Shut up, Lucy." LUCY: "Shut up, Andy." ANDY: "Shut up, Waldo." LUCY: "We already said that one." ANDY: "I know, Punkie, we have to repeat them, so Mr. Smartypants can learn, now ... Shut up, Cooper." Lucy and Andy stand back from Waldo. Waldo looks around. Everyone stares at Waldo. Bobby starts laughing. Over to Gersten, she winces as: BLEND AND ECHO (stock audio) of Ed's owl-killing shot and Log Lady's owl neck snap. A crow lands and caws, seemingly relieving Gersten's pain. Gersten looks up to see crow only to see Log Lady also staring at her and the crow.

AT MAIN STAGE (CGI)

Audrey flows to microphone wearing a gown of emerald satin and silk. AUDREY: "Welcome to the grand finale of today's sneak preview of the Fourth of July!" Crowd cheers. Audrey sips champaign. AUDREY: "What would the Fourth be without fireworks!" Audrey sparks an electronic candle. Sparks and snaps of magnesium-bright flame issue from its tip. She lights a cigarette with it. AUDREY: "Thank you for celebrating with us. And from all of us, the Horne family, our many sponsors, the town council, and Law Enforcement..." Audrey beams at Cooper. AUDREY: "...Let the skies light up our dreams, bring fire to our hearts, and never extinguish our spirits." Audrey ignites the trough leading to the cauldron of the torch. The flames leap up the trough, burst the cauldron to red white and blue flames, crowd cheers, flames continue up in strange spirals around invisible (to crowd) wires, further setting off an entire billboard sized wall of burning pinwheels which spell out [red] 'Horne Industries' [white] 'Proudly present' [blue] 'the one and only' [gold] 'Glassy Eyed Betty!' Large mortar fireworks blaze throughout the skies. More cheers. Audrey moves offstage while a group of technicians set up a Glassy Eyed Betty hexagonal brick in the center stage. Crowd stares up to mortar display. Around the brick, techs assemble a strange thin polymer clear plastic shield around the entire stage, 20 feet up, made of soap-bubblelike holographically refractive swirls. The bubble inflates to a clear sphere. We can already see that this polymer has other properties in floating sections: funhouse mirror, magnifier, phosphorescent black light crystals, micromirrors, electrostatic discharges, mirroring and ballooning, refracting and reflecting the faces staring into it and all of Twin Peaks surrounding the sphere. AUDREY: "And lasers, which spatter instantaneously locked on to any explosion or spark, making each explosion shine like some jet purple comet brilliance. The shielding protects you, its fire proof. So come in close." The dome is sealed. AUDREY: "This is it! The Golden Glassy Eyed Betty!" Crowd circles in. Park Clock Tower has digital laser show countdown: '11:59:50' and large '10 ... 9 ...' CROWD: "Eight! ... Seven! ..." FREEZE FRAME Log Lady (does she move?) CROWD: "Six!" FREEZE FRAME Cooper (his eyes move). CROWD: "Five!" FREEZE FRAME Sarah and Beth hand in hand. CROWD: "Four!" FREEZE FRAME reflection of Garland's watch in his eyes. CROWD: "Three!" FREEZE FRAME Renault Ghosts appear in freeze frame. CROWD: "Two!" FREEZE FRAME Donna and James in each other's eyes. CROWD: "One!" FREEZE FRAME Audrey's eyes, a reflection of the sphere, sphere reflecting Audrey, ad infinitum. Captions: '0:00:12:00:0' and 'March 6'.

S3:E12: ACT THREE

3D FREEZE FRAME MONTAGE - TRAVELING (CGI)

From Audrey's freeze frame to freeze frame of:

AT AUDUBON BOOTH

Betty smiling, staring at the stars and mortars, hand in pocket. Waldo, loose, taking flight. Andy and Lucy hand in hand. Garland regards his watch: '12:00:00.' Gersten spotting Waldo escape. Bobby gazing across to Audrey. Traveling past customers to freeze frame of:

AT DON-HUT

Shelly staring across to Bobby. Norma pointing at stage. Ed looks to Norma's point. Toad, in front of booth, bite of pie about to be gobbled. Traveling past customers to freeze frame of:

AT MAGIC SPHERE

END FREEZE FRAME for:

INT. PLASTIC MAGIC SPHERE (CGI)

Transmogrified across the inner sphere: Crackle crackle Pop! Lasers lock on. Crackle crackle Pop! Lasers zap sparks. Pop pop Boom! Pop pop Boom! The Betty spins. Tornado of sparks, psychedelically reflected. Calliope plays Star Spangled Banner. Sphere begins to float just above stage. AUDREY: (VO, distant) "Don't worry folks, its supposed to do that." Eyes begin to light. Spinning, bursts of brilliant white and red light up the Betty's eyes, in a blur as strobes begin. (Flash) expanding heat and firestorm and lasers mutate every view. The strobe lights up red and white 'floating eyes.' Lasers refract. Calliope finishes. Boom boom BOOM. Climax flashes increase, a third floating eye appears: Gold. Crowd cheers as the heated plastic ball rises like a hot air balloon over the park.

The glowing refracted ultrastrange sphere floats up and at twenty feet, to distant awing: ONE ARMED MAN (VO): "Through the darkness of futures past, the magician longs to see. One chants out between two worlds: 'Fire, walk with me.'" SLOW DIAGONAL WIPE BETWEEN TWO WORLDS. Same angle, our view changes to a Twin Peaks burning in black out conditions, molten slather of multiple exploded spheres rain down in iridescent red and purple flames boiling across electrostatic snaps and arcs. Gooey blobs of phosphorescence ignite everything including people screaming in this smoke-choked hellish molten burning apocalypse. Audrey in red dress and Bobby in tux, crouch in burning booth while blobs fall. AUDREY: "Dammit, Bobby, you dreamt this sh*t up, now do something!" SLOW DIAGONAL WIPE BETWEEN TWO WORLDS. BACK TO (not burning) MAIN STAGE. The sphere floats up. Audrey dreamily stares between the sphere and Cooper, who stands on a far, dark hill. AUDREY: "It's so dreamy."

INT. GREAT NORTHERN - PENTHOUSE - NIGHT (CGI)

Overlooking Twin Peaks below and the sphere floating far away from circular windows of the posh penthouse, meticulously appointed with Nez Perce artifacts, the Log Lady sits near a small tea table with coffee. LOG LADY: "This is not what you are going to expect." Log Lady pats log. LOG LADY (to log): "Nor what should or shouldn't happen or not. (to us) Then be ready." Log Lady sets log down. Margaret sips coffee. MARGARET: "Excuse me, I must remind you, this is a Pink Sweat exclusive, and any outside replication of this event is prohibited." Margaret picks up log. LOG LADY: "Twenty-five years ago, right after Laura Palmer died, my Log met a man in a local pie shop. My Log told that man three words, 'Deliver the message.' Tonight, my Log wants to deliver a message. I am the widow of the man inside the log. I am Margaret Lanterman, the Log Lady. ... Light is the angel hiding like wisdom in plain site." Margaret stares blankly. Margaret pops pitch. Chews. Camera lighting fades and film technicians enter.

EXT. SKY ABOVE GREAT NORTHERN - NIGHT

Showing the sanitarium on a far opposing hill. Turning to show the Easter Park and the nearby hospital.

INT. HOSPITAL - NADINE'S ROOM - NIGHT (CGI)

Lauralike hides in shadows in dark room. Nadine in coma, shackled and hobbled and noosed with multiple restraints in a restraint chair, hooked to tubes and monitors. Cooperlike walks in shadows. He wears an eyepatch on his right side. COOPERLIKE: "Nadine, Nadine, Nadine." Cooperlike and Lauralike fade away. COOPERLIKE (VO): "Time to open your eyes, Nadine." NADINE: "God-FORSAKEN cloning process!" Outside room, Doctors confer, and stop, rushing into room. Nadine struggles against restraints attempting to clap, eyes closed, no patch. NADINE: "God-FORSAKEN cloning process! God-FORSAKEN cloning process!" She opens her eyes and snarls at Doc Hayward. Her left eye is now blue. NADINE: "By God, they will be silent!" Cooper stands with Doctors in lab coats: Jacoby, Albert, Sam, Doctor Shelvy, and CIA Operative: Doctor Raven Hill, who give dubious looks to Doc Hayward.

EXT. WOODS - NIGHT (CGI)

Douglas firs undulate in the slight breeze. Panning up to reveal a sliver of moon above the sanitarium on a far opposing hill. Panning down to reveal Douglas firs rustling above Sheriff's station.

INT SHERIFF'S STATION - HARRY'S OFFICE - LATER - NIGHT (CGI)

Cooper and Albert talk, looking at lap tops. Sam paces, watching his strange equipment. ALBERT: "Listen Agent Stanley, if Cooper says he saw Phillip Jeffries, I guarantee you he thinks he did." SAM: "Of course, Sir." COOPER: "Albert, I do not think we prevented Twin Peaks from burning to the ground. This fire that would consume all is neither extinguished, vanquished, nor quenched. For just as in a dream, this conflagration of evil is metaphor, Albert." SAM: "Excuse me, gentlemen, but I'm so fucking confused my brain is bleeding. You are saying that all these strange happenings in town, both now, back then, and into the future are related. Fine, I highly disagree, but let's assume they are. The desecrations are related to Nadine Nelson to the collar to the Vruv7 to S. Palmer's disappearance, her re-emergence, the A. Horne leg caper, to a 25 year old unsolved law enforcement murder, to Martell's desire to burn the entire town to the ground, to gun trafficking, to disappearances of C. Desmond, and P. Jeffries, to the deaths or disappearances of M. Tremond, Laura Palmer, Leland Palmer, P. Martell, J. [name withheld], G. Lanterman, R. Pulaski, A. Blackburn, T. Banks, et cetera ... this list is insane." COOPER: "We are dealing with powerful and mostly invisible creatures, who can control dreams, and control people through possession. These beings obfuscate or delay the truth or outright deceive us. They must either know or travel through time and spacetime, to concentrate their powers of darkness on Twin Peaks. This darkness is called the Black Lodge. It is present in every death and disappearance and malfeasance you just stated, Sam." ALBERT: "So, let's say all that's true. You, Cooper, are going to solve all those crimes, including the ones you trumpeted at the town hall? All at once? For everyone to see? Wow, no, seriously, wow. Have you ever heard of megalomania?" SAM: "Yes." Albert has a chuckle. ALBERT: "Coop?" COOPER: "Yes, Albert, I have. Grandiose, often self-deluded inflation of one's ego. I am not here for myself, Albert. I am, we are, here to save lives. Heidi Vogel's aim was precise, by our meticulous calculations, for the heart of Judy Swain. This is Judy. We will come to not only discover the truth masquerading behind the mystery of Mz. Vogel's attack, we will also discover links to many other crimes. And gentlemen, we will triumph." ALBERT: "Did your tattoo tell you that?" Cooper strokes his hair and touches his tattoo. We see hints of it brush by. COOPER: "I am Margaret, I am the leg, I am the foundation. I am Garland, I am the neck, I am the center. I am Sarah, I am the shoulder, I am the pillar. I am Cooper, I am the mind, I am the stars." Sam is flabbergasted. Albert looks worried. ALBERT: "Peachy, Agent Stars." Albert sighs. ALBERT: "Definable results, gentlemen. I know, Coop, that's a lot to ask." COOPER: "Albert, we will discover the truth." Albert shakes his head. SAM: "Yes. Your ring. Definable result. The ring: platinum, gold, iridium. But since your days here, its iridium content has increased, as has its weight, 12 micrograms. Could be transferred by sweat from consumption of local food, but weight usually diminishes with wear..."

Waiter appears outside window, with a steaming white cup of black coffee, floating above his hand. The cup inverts, spilling but freeze framing the spill, which looks rather round and orblike almost as if spilling from a sphere. Only Cooper seems to see this. Though the window is closed, as Sam drones on, we hear the Waiter anyway. JERARD/WAITER: "Black as midnight on a moonless night." COOPER: "Why don't you come inside?" Waiter shakes his head, smiling. He circles a finger above his head, flaps his arms. WAITER/JERARD: "Who, who, who." Waiter covers his mouth and giggles. Then shrugs, winks, gives a thumbs up. Giant appears, reverts the spherical spill of coffee back into the cup without the loss of a drop. They both smile, Giant puts his hand on the Waiter's shoulder. They turn. As they turn to walk away and fade away, the cup follows. GIANT: "Don't forget to tip the waiter." JERARD: "Who?" GIANT: "Cooper." JERARD: "Cooper?" GIANT: "Cooper."

SAM: "...but here's the thing. If our opponents are real they must render measurable scientific results. Or they are entirely supernatural." COOPER: "Did your monitors detect anything just now?" SAM: "No, nothing unusual." ALBERT: "Perhaps Sam needs to take a walk." SAM: "Excuse me?" COOPER: "A walk in the Lodge, Sam. Your old partner, Agent Chet Desmond is there, and it has something to do with my ring." SAM: "I will do nothing of the sort. I prefer the real world. But I would like to know: Why have they brought this evil here? Why Theresa Banks? Why Laura Palmer and Madeleine Ferguson? Why Beatrice Roundtree? Why Judith Swain or Annabelle Blackburn for that matter? Why Twin Peaks?"

INT. SHERIFF'S STATION - CONFERENCE ROOM - CONTINUOUS (CGI)

Gordon sits across from Judy. GORDON: "So you got your MSW in Seattle. And there, you say, you had your only other run-in with the FBI. You met this man..." Gordon slides Judy a photo of Phillip. Judy nods. GORDON: "But he didn't tell you his name?" Judy pats Gordon's hand to stop, he is somewhat surprised, but somewhat charmed. JUDY: "Okay, here's what happened, you're going to wet your pants. I was on campus in Seattle back then. I thought the southern man was just another student: slick, kooky, goofy. He approached me out of the blue. He had his FBI badge clutched in his hand but didn't really show it to me. I remembered every word he said all those years ago, because ... guess why?" Gordon is enamored, smiling, and shrugs. Judy squeals. JUDY: "Because he only said this: (blend JUDY & PHILLIP (VO)) 'I've been to the convenience store, you see. I've even been to the grand palazzo. But I've never been to the masquerade beneath the waterfall." JUDY: "He pointed to the 'TP' of my old Twin Peaks letterman jacket. Then he started screaming and holding his head. And so I ran away. The end." GORDON: "And you never saw him again?" JUDY: "Not really." GORDON: "Not really?" JUDY: "I had a silly dream about him that night. One you remember." GORDON: "I'm intrigued, Miss Swain, by both your charm and your enthusiasm. Please, go ahead." JUDY: "I'm sitting in a chair in a room with green curtains. The man from campus came up to me and screamed," (blend JUDY & PHILLIP (VO)): "You're name is Judy! You've already been places!" JUDY: "And then I saw a bunch of creepy flashes of memories and things. I startled awake. Never saw or dreamed him again. And like I said, if he had mentioned Buenos Aires, I would have been tickled pinkadooddledoo, because I've always wanted to travel. Anywhere. But social service ain't like civil service. You guys fly everywhere! Eeeee! That must be heavenly. I've been on planes, you know." Judy bites her bottom lip. GORDON: "It's not it's all cracked up to be, Miss Swain." Traveling through the floor to the basement of:

INT. SHERIFF'S STATION - CELLBLOCK - NIGHT (CGI)

Catherine paces in her cell. At one end of the block, Leo. At the other end of block, Juliette, asleep on bunk, facing away. CATHERINE: "Leonard James Johnson, how are you!" Leo looks to Juliette. LEO (whispered): "You're dead, bitch. I'm going to tell them. All about that collar!" CATHERINE: "Tck TCK Tck TCK Tck TCK." Leo's expression changes. CATHERINE/WINDOM: "That's better, Leo. She can't hear us now." LEO/BOB: "Catch you with my death bag!" CATHERINE/WINDOM: "Tck TCK Tck TCK Tck TCK!" LEO/BOB: "What are we waiting for!?" Magician appears. MAGICIAN (backwards speak): "The others." Magician spins into Andrew Packard. ANDREW (backwards speak): "Yes, sis. All the others. All of them!" Andrew spins into Magician, who begins to dance as Man From Another Place.

INT. BLACK LODGE

PHILLIP in Black Lodge. Bleeding on white suit and white tie. As the blood soaks in, the (blood) red suit becomes black, the white tie becomes red soaked in blood.

EXT. EASTER PARK - GAZEBO - LATER - NIGHT

Stragglers and maintenance clean up park. Booths mostly dark. Donna holds her arm. James has his arm around her waist. They stare at the night sky. DONNA: "James, we are not supposed to be here. We should be at Sparkwood and 21." JAMES: "You're talking nonsense, babe. I can't leave. I'm on watch tonight, all night. If you tell people your arm told you to do these things, they'll put you up there at the insane hospital on the hill." DONNA: "It's like rheumatism when a storm comes in. James, I feel it. Laura's pain, Sarah's pain, Cooper's pain. All those creatures..." JAMES: "Wait a second, creatures?" DONNA: "The ones out to get Laura, like Bob, there's more of them, James." JAMES: "Donna, that's beyond f*ckin weird!" DONNA: "Why do you think those lookalikes seem like they were Laura?" JAMES: "Just good actors?" DONNA: "No, James, open your eyes." JAMES: "Why would Laura do this? Let's get out of here. Vegas. Two days and I'm free. Marry me, Donna Hayward." DONNA: "Oh yes, James! But I can't leave Laura." JAMES: "Donna ..." James, alarmed, sees someone. JAMES: "Oh, sh*t!" Donna." DONNA: "James. What's wrong?" JAMES: "My parents. Both of them. They're here. Right there." James points. Donna turns.

AT DON-HUT

Ed and Norma locking booth. NORMA: "Ed, is that your brother?" ED: "F*ck."

AT TELEPHONE POLE (CGI)

In Easter Park, at video monitor showing view from camera into Park: 'You are live on Pink Sweat'. 'Here you are, live from drone cam or sphere cam.' Options on screen: 'Chat, Channel, Sphere!, Margaret Lanterman Live, Tuesday March 8 new moon, Pastry delivery!, Hornes of Fire Fireworks. Unknown finger presses 'Tuesday March 8 new moon.' As documentary footage shows EXT. SKY WITH NEW MOON - NIGHT. Footage shows outline of where new moon is in sky. As footage plays, we see graphics in lower corner: 'You are part of Pink Sweat's record-shattering interactive live stream!" We see the watcher, Doctor Jacoby. JACOBY (to himself): "Okay, Johnny, why the f*ck do you want me to see you on new moon day? Did Daddy say something about Horne Observatory? Or is it Laura? You knew about Cooper before Cooper. That face you made is going to come back into focus. If you can't tell me, Johnny, maybe your snoopy little sister will." Jacoby looks toward Gazebo and Donna and James.

INT. BLACK LODGE

Phillip regards his bloody hands. Man From Another Place sits in chair. MAN FROM ANOTHER PLACE (backwards speak): "I've got new secrets! That friend you like is going to come back from the dead!" Man From Another Place giggles, covers his mouth, loses smile, goes wild-eyed. MAN FROM ANOTHER PLACE (backwards speak): "Damn fine cup of coffee! Owl from another place! Perpendiculars and parallels!" Wildly looking around, he fades away along with furniture. Phillip's tie completes turning from blood red to black. He is now dressed exactly as Cooper. Caroline walks up, her forehead blown out like Roundtree's, but having a thin translucent 'skin' over the hole. PHILLIP: "Caroline? Are you Caroline Earle?" CAROLINE (backwards speak): "I feel like my name is Annie, but other times my mind is bending like the backwards girl." Caroline begins a strange twelve-twitch-movement dance to music, except each dance pose is a mimic of other characters: Cooper's salute, Waiter's thumbs up, Laura's snap, Margaret's Log pat, Bookhouse boys sign, Giant's 'noooo' hand wave, Donna's holding arm, Placide's contorted arm, Man From Another Place's 'Let's Rock!' hand clap, Laura's 'meanwhile' pose, Garland's salute, Gordon's splayed hand over forehead. Phillip begins to syncopate, every movement of Caroline, as they circle each other in each twitch. Then, in perfect digital syncopation, they replicate each other in clockwork strange mirroring, 1-second, one pose. COOPER & ANNIE (VO, upside down speak, synthesized): "Light, walk with me." In twelve syncopated 1-second phonemes: "L aw ee t w a th m ee." The phonemes sound as each pose strikes. FASTER MOTION. Phillip and Caroline click around in poses. COOPER & ANNIE (VO, upside down speak, synthesized) "Light, walk with me." FASTER. "Lightwalkwithme." FASTER. Blur. "..." "..." "..." "." The circular blur and buzzing sound fade to a circular reflection of an industrial saw spinning, fading to a circular reflection on:

EXTREME CLOSE UP: Water droplet at tip of douglas fir needle. In the reflection, standing around the droplet, appearing to stare into it: Lauralike, Lauralight, Lauraflux, Maddylike, Lela, Aurora, Lauramist, Lauraspark, Areol, Doppelganger Laura, Lauracorpse, and Laura. Droplet falls. We travel father out to reveal the fir stands above EXT. SPARKWOOD & 21, and as we fade to INT. BLACK LODGE: GARLAND (VO): "According to our estimates, it happened again at twelve past twelve." INT. BLACK LODGE. Roundtree's forehead is bloody, but not blown out. She seems to talk upward to Garland's voice. ROUNDTREE: (backwards speak) "Hush, you! I've told you thrice! No rings on this level!" TREMOND (backwards speak): "My oh my is my son my grand my magical my son!" BOB (backwards speak): "How's Annie!? How's Annie!? How's Annie!?" MAN FROM ANOTHER PLACE (backwards speak): "Who's Annie!? Who's Annie!? Who's Annie!?" The look up to three identical lamps of the lodge, each with an owl, each whooing: 'who' 'who' 'who.' WINDOM (backwards speak, maniacal): "Where's Annie!? Where's Annie!? Where's Annie!?" We see the face of the owls MORPH to blends of COOPEROWL: "Laura." JACQUESOWL: "Laura." WALDOOWL: "Laura." Roundtree wipes the blood in a gash from her forehead and throws it to the chevrons in a huge gory splat, laden with viscera, grey matter, skull bone. ROUNDTREE: (backwards speak): "Garmonbozia!" It diseases and mutates to bloody moldy purulent creamed corn slop. MAN FROM ANOTHER PLACE (backwards speak): "Get it while it's hot! Fire, walk with me." The chevrons open to hellish torrents of fire burning in zigzag columns of flame, the creamed blood slop drips over edges of chevrons. Everyone, including owls, race and fight each other to lap up the vomitous offal like rabid hogs to putrid sewage.

FADE TO BLACK

Radio distortion and tuning to:

NORMA (VO): "It's 3 ringlets of pie dough baked in a spherical grid, half sphere at a time, like around the equator and prime meridian and the other one. It's as big as your head, Ed. We bake the outer ring shell and fill it with home made ice creams, tiny fresh cookielets, and caramel toffee and praline crunchies. It's a sphere full of candy cookie cake ice cream and pie. And every one contains a special donut. And every one is unique. We call them the 'Unreal.'" Radio distortion and tuning to:

ALBERT (VO): "No, shut up Cooper, for a second." Albert sighs. ALBERT (VO): "Correct me if I'm wrong, but not until I say so, understand?" COOPER (VO): "Understood, Albert." ALBERT (VO): "Everything that has happened, is happening, or will happen in this happy helter skelter hamlet could also be just somebody's dream? I mean, is the Log Lady going to go nuts, reveal she's a witch, fly away on her log, this time ... not burn ... say, flood the town in ... they like bird lore here, say chickens and flamingoes, only to find out that ... oops! ... poof! ... What it actually means is Mz. Log had a vision of this happening. Then, stretching incredulity beyond its snapping point, clear past crazy, and way past any reality whatsoever, Joe Lodgeguy Dreamer sends a dreamogram to the aforementioned Lumber Lass. But one chicken gets stuck somehow and the signal goes way way haywire, and it turns out our lumberjill really isn't a witch, she only flew up there in a dream, during Twin Peaks 'Chicken and f*cking flamingo Parade!?'" Albert sighs. ALBERT (VO): "Go ahead, Cooper." COOPER (VO): "Perhaps, Albert, but I think it unlikely." Albert sighs. COOPER (VO): "These are partial visions, their times and meanings deliberately and deceitfully obscured." ALBERT (VO): "Are you saying that my Lodge visions, my dreams, your dreams, are being tampered with?" COOPER (VO): "Yes, Albert. Twenty five years ago, my dreams helped solve the murder of Laura Palmer. Twenty five years later, dreams and visions have returned. And so has the evil. Only this time, it is also hunting us and haunting us in our dreams." Radio distortion and tuning to:

WAITER/JERARD (VO): "Hello? Is thing on? (war whoops) You betcha! Thank ya, kindly." GIANT (VO): "Four you have already saved." Radio distortion and tuning to silence. Click.

EXT. SPACE (CGI)

Show Beth's impossible ever gathering ever radiating gyroscopic ultragalactic resplendence. A universe of star systems spiraling inward and outward on three galactic planes, flying past quintillions of stars and systems. Show Ben's description: [BEN (VO): "Toward the center of this impossible all-the-stars-in-the-universe trigalactic center, to the unspeakable grandeur of its center's ultramassive black hole, orbited on all three axes by 12 hypermassive black holes orbited on all three axes by 12 megamassive black holes, orbited on all three axes by 12 paramassive black holes, orbited on all three axes by 12 supermassive black holes, ad infinitum, destroying stars and planets evaporating systems exploding quadrillions of stars in spangled supernovae initiating black hole polar gamma ray bursts. These bursts annihilate everything they cross, but fire in magnetospheric arcs of double helixed blasts to other black holes in a synchronicity of black holes, transferring vast energy to each other, controlling their size and spin and gobbling and synchronicity. The bursts are digitally precise, though chaos reigns as this universe collapses. Planets gone, stars, each outer level of black holes collapses inward, to one omnimassive black hole (the entire universe) which collapses to a point, then nothing, then inside out, then two ultratiny identical big bangs. Two universes. These little guys swim out in a sea of what science or science fiction tells me is called 'grey matter' or branes or membranes or something. And quick as you know it, two universes for the price of one! Academy award for most destructive scene ever produced, you guessed it, with studios located high atop Twin Peaks-" Click.


	13. Do you see creamed corn?

(first edit)

TWIN PEAKS: EPISODE 13: "DO YOU SEE CREAMED CORN?"

S3:E13: TEASER

INT. GREAT NORTHERN - COOPER'S ROOM - MORNING

In bed, Cooper sits up, an octogenarian with long white braids tied with rawhide. He looks around and smiles. Breathes in. Exhales. Basks in morning sun. Stretches. OCTO-COOPER: "Hi! And welcome to the Wink Tapes." Octo-Cooper winks. Big smile. Thumbs up. He turns the 'Josie' knob on his night stand. Strange pixelation.

WINK TAPES THEME and OPENING SEQUENCE starring exclusively original Twin Peaks- Click.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me & Light Walk With Me cast members.

S3:E13: ACT ONE

INT. GREAT NORTHERN - BEN'S OFFICE - PRESENT DAY - MORNING

Jerry paces, chewing his lip. Ben's desk is stacked with folders, memos, papers. Ben enters, ear bandaged. Jerry throws up his arms. JERRY: "Aren't you in a coma?" BEN: "I know, Jerry." JERRY: "I mean, what the hell, Ben!?" BEN: "Just a sustained unconsciousness." Ben looks through memos. BEN: "Audrey has sold One Eyed Jacks for some magic beans." JERRY: "Audrey is starting to piss me off, Ben." BEN: "Starting? She's beyond that, my brother." Ben hands Jerry a legal contract. JERRY: "The Renaults? The f*cking Renaults! Weren't we rid of them once!? For God's sake, what's she thinking!?" Sylvia opens the double doors with a flourish, smiling wryly. BEN: "Sylvia, please, not now." SYLVIA: "Oh, I'm not staying. Just wanted to check the fan." Jerry looks around. JERRY: "The fan? What!?" SYLVIA: "Before Audrey gets here and 'it' hits it." Ben is steamed. BEN: "Listen, Sylvia-" SYLVIA: "No! You listen, Ben! You too, shadow." JERRY: "Now, Sylvia, I've asked you not to call me that." SYLVIA: "You both escaped being locked up with all your friends 25 years ago. Arsonists, murderers, whores. But there's one thing you can't escape. Audrey." Ben and Jerry fume. Sylvia withdraws backwards through the doors, grinning, bowing. She shutters the doors.

EXT. BIG ED'S GAS FARM - CLASSIC AUTO REPAIR - AT BALCONY - MORNING

Overlooking a black 1929 Rolls Royce Phantom with its engine torn apart: the balcony with chairs and Sun table, emptied shot glasses, some with lipstick. Half empty bottles of Fireball and Jack Daniels. Smoldering cigarette with lipstick on other side of table from James, drunk, hanging over balcony. Shelly stands below, arms crossed. JAMES: "So, I'm celebrating, Shelly! We both signed." James dons Donna's sunglasses. JAMES: "It don't matter if I get hella wasted! I can do anything! I could climb to the top of the peaks, jump, fly, hell, explode dressed as a ... molten rumpelstiltskin. Weird, huh!? But nobody would notice, 'cause there's another nine kinds of weird across town! Get 'em while they last!" Shelly looks angry lost and hurt. SHELLY: "One big sloshed family. Say hello to your parents. You'll find them in the gutter, out back of the Roadhouse!" Shelly turns to her vehicle, enters, slams door. JAMES: "Shelly." She starts it, revs the engine. JAMES: "Shelly!" She honks the horn continuously. JAMES: "SHELLY!"

EXT. DOUBLE R CAFÉ - AT SIDEWALK TABLE - CONTINUOUS

We hear Shelly's horn in the far distance. Judy sits across from Peter Milford. Two camerawomen film them. POVS CAMERAS. JUDY: "I don't know why she would try to kill me. I never ordered creamed corn. Wait!" Judy makes a motion to camerawomen. END POVS. Camerawomen frown and lower cameras. End far distant horn. JUDY: "What if the Log Lady was in on it!?" Judy squeals. JUDY: "People say she makes up a lot of stuff. And what if all this crazy stuff is something made up too!? I think she's got Sarah Palmer all wrapped up in it like cellophane. (whispered) Those two are thick as thieves." Judy darts her eyes around. JUDY: "I mean, couldn't all these visions and dreams just be like everyone else's? Just complete nonsense!? I mean I'm seeing a whole lot of crazy in town, that's for sure, but hear me out." Judy bites her lip, eyes widening. JUDY: "Graverobbing, Fires, Murders, Comas, Laurites, Lodges, Haters, Feuds, Myths, Supernaturals, Ghosts, Legacies, Insanity, Dreams, Visions, Disappearances, Appearances, Heaven, hell, plus Cooper's list of every crime possible? There can be only one answer." PETER: "Can we please roll on this?!" JUDY: "Wrong! I mean, no!" Judy methodically claps. JUDY: "Everybody! Everybody! Everybody! That's the answer! Everybody!" PETER (doubtful): "Everybody is in on it?" JUDY: "No, silly. Everybody is hopelessly mired up in this, and is making everyone else believe their banana-plan!" PETER: "Excuse me?" JUDY: "Banana-Plan: Their crazy talk, their harebrained scheme, their 'cult of mind.'" Peter blinks. Twice. PETER: "I'm going to interview the Palmers, all of them." JUDY: "Even about the babies?" PETER: "Especially about the babies." Judy squeals and twitters her feet. JUDY: "I can't say anything!" Judy stuffs her mouth with several donut holes. JUDY: "How do they get a single pie cherry inside these!" Judy eats several more. JUDY: "Can't talk." More holes. JUDY: "Can't!"

INT. DOUBLE R CAFÉ - CONTINUOUS

Norma refills Betty's and Garland's coffees, Garland rapt in March 7 Twin Peaks Gazette. They sit side by side. The ladies stare out the window to Judy being interviewed. NORMA: "I don't know if I like this. First that creamed corn thing and now she's in front of the Double R." BETTY: "She's the one who has all those Laura embryos." Garland doesn't look up from his paper. GARLAND: "Duodecuplets, or more properly, duodecaplets." BETTY: "Yes, dear, duodecaplets." Norma frowns, shakes her head, returns to counter. Betty stares at Judy. The moment her head turns down to grab her coffee, Garland looks up from his paper to Judy. Betty lifts her cup, stares up, as Garland stares down. We see this continuing as we travel to entryway to see a flat screen at entrance of Double R, resting on a tripod like a dry-erase 'daily special' board. On the screen: a sumptuous meal: Captions: 'Today's special: Pot Roast, veggies, mash, gravy, side, coffee. – No subs.' Smaller options at bottom of screen: 'Employment opportunities.' 'Double R Delivery.' 'Meals on Wheels.' 'Dream Onward.' 'Big Ed's Gas Bucks.' 'Filming/recording prohibited.' 'We do not serve or use creamed corn in any recipe.' On the entire screen: Donut hole rolls on, opens to reveal a luscious red cherry dripping with pie filling. Back to Garland and Betty. She checks several decks of playing cards and adds them to her purse. Her purse contains a strange device: half cell phone, but completely backed with audio speakers, in a fractal-like spiraling cascade formation of ever-smaller circles. Garland reads an article in the Gazette: 'New Moon Tonight' showing a graphic of a black moon. The paper and moon lower to dawn across and stare at Judy, gregarious and gesticulating to the sky.

INT. SHERIFF'S STATION - CONFERENCE ROOM - MORNING (CGI)

Albert and Cooper at table with laptops and stacks of folders. SAM: "So, in conclusion, both the Johnson Trans Am and the Renault SUV were wiped down completely, professionally I might add. The long strand of grey hair found in Leo Johnson's car does not belong to Leo Johnson, the name is sealed." Albert and Cooper stare down to two large silver foil envelopes labeled 'FBI Protocol 12-13-14.' SAM: "But more importantly, the solution." ALBERT: "The solution? Now you're solving everything all at once!?" SAM: "No, sir, not at all. But yes, the liquid solution used to wipe down both vehicles matches and contains marker chemicals. I'm sending you a list of manufacturers and brands." ALBERT: "And?" SAM: "The perpetrator bought across a marker change. The perps mixed them-" COOPER: "We have her. If we can locate that exact marker mix, the bucket or barrel she mixed them in, any cloth or tool used, we can link Martell to all the desecrations, since it would be impossible to duplicate." ALBERT: "Great work, Stanley. Inform the field at the Martell properties. Make sure Cole coordinates with the Evans sisters." SAM: "Yes, sir." Sam exits. COOPER: "A strand of hair, Albert." ALBERT: "Which matches the one found at the morgue." Albert picks up a report, hands it to Cooper. ALBERT: "Forensics on the revolver." Cooper skims. COOPER: "Edward Hurley over Nadine Nelson's fingerprints on the revolver. Two shots fired. Both slugs recovered and match each other and are consistent with sample fired from weapon. Albert, will the Bureau pursue charges against Nelson?" ALBERT: "Yes." Cooper frowns. ALBERT: "Listen, Coop, she'll not see time. Her competency hearing may derail the case. Insanity or justifiable homicide, she'll likely never see freedom in either case. But that's not for us to decide." COOPER: "Indeed, Albert. But tragedy followed by tragedy empties justice of its ideal." Lucy enters, setting a carafe of coffee and a pyramid of donut holes. LUCY: "Today's special." Lucy exits. ALBERT: "Heidi Vogel's aim was precise for the heart of Judy Swain. You say Agent Jeffries was there and helped save her from joining Laura Palmer in the morgue. Special. Sheriff Truman's aim was precise for Vogel's skull. Yet this one is a mystery. Whereas the slug intended for Swain was stopped by your vest, Agent Cooper, how did Frau Creamed Corn stop the slug headed at her? We here at the FBI are interested in little details like that." COOPER: "Albert, Harry must have missed. Or, Heidi Vogel or the bullet were affected by the Black Lodge. Just as Phillip interfered for Judy, something may have interfered for Heidi, perhaps allowing the bullet to pass through her-" ALBERT: "Pass through her!? Oh my God, Cooper, she's a werewolf! I don't know how many times I have asked our good Sheriff to pack silver bullets!" Cooper smiles. COOPER: "Albert, you may have something there. Indeed, we must fight the Black Lodge on every level at our disposal. But there is no silver bullet or panacea that will solve this conundrum." Albert frowns. ALBERT: "You ready?" Cooper nods. Cooper and Albert open end of foil envelopes, puff them up, and put them over their heads. Bags seal. POV COOPER. We see through the foil bag, Albert having bag on his head. ALBERT (filtered): "I hate these things." ON THE INSIDE OF THE BAG, LIKE A VIDEO SCREEN, words print 'FBI Protocol 12-13-14. For Your Eyes Only. Subject: DNA Analysis: Sample: Hair. Family tree: Palmer. Gender: Male. Subjects ruled out: Sarah, Leland, Laura, Madeleine, Elizabeth.' Knock at door. Cooper opens door. Andy startles, then enters with stack of folders. END POV. He is puzzled by bags over agents' heads. Agents remove them. COOPER: "Andy. What do you have for us?" ANDY: "Hello Agent Cooper, Agent Rosenfield. Audrey Horne is in Interrogation Two. Martell receipts." Andy sets stack down, a single donut hole falls off pyramid and rolls toward stack. As it passes foil envelopes, captions fade from outside of envelopes. The four watch the donut hole roll the entire length of table.

INT. SHERIFF'S STATION - INTERROGATION TWO - CONTINUOUS

Cooper enters, popping a donut hole, holding a cup of joe and a folder and lap top. Audrey stands. Black business suit piped in green. A green lapel rose accents her ensemble. AUDREY: "Hello Agent Cooper." They both smile while Cooper finishes his snack. COOPER: "Miss Horne, please have a seat." They sit. Cooper presses a button. COOPER: "Did you transfer controlling interest in One Eyed Jack's to Juliette Renault?" AUDREY: "I did it for you." Cooper looks worried. AUDREY: "To catch your criminal. I mean, I did it for the FBI." COOPER: "For your complete cooperation, we are prepared to drop charges related to the Owl Cave incident and your use and possession of missing Air Force property." AUDREY: "Thank you, Agent Cooper." COOPER: "It was not my decision." Audrey stares into Cooper's eyes. COOPER: "Do you swear to tell the truth, whole truth, and nothing but the truth?" AUDREY: "Yes, Agent Cooper." COOPER: "Furthermore, do you understand that any falsehood you may now state is a Federal crime?" AUDREY: "I understand, Agent Cooper." COOPER: "Did you ever use the Vruv7 other than at the Owl Cave and during your subsequent infirmary?" Audrey pauses. COOPER: "Did you use the Vruv7 at any other time?" AUDREY: "Yes, but it was harmless." Cooper looks up. AUDREY: "Those trampy little Palmer girls." COOPER: "Do you mean Aurora and Lela Flying Eagle?" AUDREY: "Yes, I impersonated Laura. I just wanted to give them a taste of their own medicine." COOPER: "Did you at any other time misrepresent yourself using the Vruv7?" AUDREY: "No." COOPER: "Did you know it was government property?" AUDREY: "It's not like it had a label. No, I did not know." COOPER: "Did you take any portion of it to the sanitarium?" AUDREY: "No." COOPER: "Do you have any other knowledge of its use, or of any other person using it?" AUDREY: "Just Juliette. She knew how it worked. She showed me. Then, when Annabelle pantomimed the One Legged Woman over at Johnny's dayroom, I saw an opportunity to show..." Audrey blushes, smiling. COOPER: "Show what?" AUDREY: "To show you I can be the woman of your dreams." Cooper presses a button. Audrey smiles. Cooper adjusts his tie. Audrey takes a sniff of her rose. Cooper takes a sip of coffee. Audrey stands, caressing her neck and single emerald, going to window. AUDREY: "I love this spring air." Cooper regards Audrey in silhouette in front of the bright window.

INT. ROADHOUSE - LATER - DAY

Nancy and Nicky behind the bar. Placide seated in corner booth. Jukebox plays. Harry and Andy enter through main doors as Placide hobbles toward back. HARRY: "Placide Renault." Placide sees Hawk and more Deputies enter kitchen entrance and turns to Harry. PLACIDE: "Just getting my chair. So I could greet you proper." Hawk watches kitchen, signals other Deputies to move forward. HARRY: "One of your bunch's been squawking up at the Stone's Throw. All about how tough he was and how his family might be taken on the Martell crew. How did he put it? 'Pop! Pop! Pop! Firecrack me some Martell skulls!' Vigilante justice don't fly in this town, Maman Renault." PLACIDE (to herself): "Merde alors! _Albert._ (to Harry) Hold your voice down, Sheriff, I have customers." She wheels to a center table. PLACIDE: "What's all this nonsense?" HARRY: "Why are your bags packed, Placide?" PLACIDE: "Why Juliette finally got back One Eyed Jacks. I thought I might visit." HARRY: "Stay on this side of the border, Maman Renault." PLACIDE: "Why, what are you inferring!?" ANDY: "Maman Renault, you can't be letting your boys carry illegal firearms." HARRY: "Placide Renault, this is a search order from Judge Sid, authorizing us to search these premisses for illegal weapons." Deputies fan out searching. Other Deputies issuing patrons out, with a quick pat down. PLACIDE: "Why I never!" Harry slaps an empty cartridge on bar next to Placide. HARRY: "Look familiar!?" Placide shrugs. ANDY: "Maman, you got to come clean. They're bringing metal detectors and everything." HARRY: "What are we going to find in these walls and floors, Maman?" Placide looks down to the floorboards, brushes her long skirt aside to reveal to black diamond slippers, echoing Dorothy's red ruby slippers. PLACIDE (OS): "Do you like them? They were once dear Audrey's. And before you bring one more thing in here, I want to see that nice FBI man. The nice one, not the mean one. And not the space cadet, nor the one with the ears."

S3:E13: ACT TWO

EXT. PALMER HOUSE - AT STREET - DAY

Betty Briggs is helping Eileen to her wheelchair. Betty looks up. The Log Lady walks down the sidewalk toward them, about a block away.

INT. PALMER HOUSE - CONTINUOUS

Donna, in business suit, has a white wedding dress in plastic, draped over her arms. SARAH: "It would have been Laura's. If you like it, it's yours." DONNA: "Mrs. Palmer, I don't know what to say." SARAH: "First off, call me Sarah." Donna looks down watching teardrops fall. DONNA: "I'm so sorry..." SARAH: "Pfft. About tricking me to get Laura's diary?" Donna nods. SARAH: "I raised a girl full of monkey business, I think I can handle this." Donna, unable to speak, nods, tears falling. SARAH: "Moms are used to it." Sarah takes Donna into her embrace. Sarah produces a tissue for Donna.

EXT. PALMER HOUSE - AT FRONT DOOR - MOMENTS LATER

Donna opens door, warm smile, daubing her eyes. She wistfully passes Log Lady, Betty, Eileen. DONNA: "Hey Mom, Mrs. Lanterman, Mrs. Briggs." Log Lady looks at Donna dubiously. BETTY: "Good afternoon, Donna." EILEEN: "Did you tell Sarah?" Donna tears up again, but this time through a glowing smile. Donna nods. The ladies watch Donna stroll blissfully sad down sidewalk.

EXT. JAMES & SHELLY'S HOUSE - DAY

Shelly drives up in a storm, exits, slams door, enters house.

INT. JAMES & SHELLY'S HOUSE - LIVING ROOM - CONTINUOUS

Shelly enters, throwing her keys and purse to side table. She fumbles with her Double R name tag. The modest place is half bare, moving boxes strewn. Joey enters from bathroom, washing up. He approaches Shelly, who swats her chestnut locks away from her face. JOEY: "Babe, what's wrong?" SHELLY: "James." JOEY: "Besides James." SHELLY: "James, Joey, James. I have to get a f*cking restraining order!" JOEY: "What's going on?" Shelly looks pointedly at Joey. SHELLY: "I DON'T WANT THAT F*CKER IN THE DOUBLE R!" JOEY: "Calm down, babe." SHELLY: "Or his little slut!" Shelly picks up a set of hog keys from a planter. SHELLY: "I'm sick of his sh*t!" She dangles the Harley Davidson key chain in front of Joey. JOEY: "Come on babe, forget about James. I got to get back to the station." Shelly points out front window and chucks James' keys through glass in shattering sprays of sun sparkling shards. SHELLY: "It's THAT f*cking way!"

EXT. HORNE'S DEPARTMENT STORE - DAY

James' hog parked outside.

INT. HORNE'S DEPARTMENT STORE - DELI COUNTER - CONTINUOUS

James sits with Donna, she in business suit. James takes aspirin. He looks up from his doubtful salad. He abandons his fork to it. JAMES: "I did love her, but I'm not in love with her. I'm in love with you." Donna grins. James moves to kiss her. She withdraws. DONNA: "Not at work." James looks around. JAMES: "It's just not the Double R." DONNA: "Cooper is finally going to listen to us." JAMES: "What does an old lady talking about creamed corn 25 years ago have to do with Heidi?" DONNA: "When Heidi screamed that, my heart fell through my stomach. I just know Heidi knows something. It's something to do with when Harold died. That kid next door said, 'J'ai une âme solitaire.' The same as Harold's suicide note. It's happening again." JAMES: "What's happening again?" Donna stares at James. He begins to grin as a feint smile crosses her face. DONNA: "I don't know, but Doctor Jacoby can get in to see her." JAMES: "Heidi? She's in a coma." DONNA: "I told Johnny to make up something about tomorrow, new moon day. Then when Jacoby came snooping around, I told the _good_ Doctor we would meet with him in exchange for help with our investigation of Heidi and all this creamed corn." JAMES: "What did he say?" DONNA: "Um... He said yes. We have to meet him tomorrow at Sparkwood & 21." Donna hangs her head. James lifts her chin. JAMES: "Babe, that's where your arm hurts most. Didn't you tell him!?" DONNA: "That's why he said Sparkwood & 21." JAMES: "I'm going to kill that weirdo!" DONNA: "No, James! Sit back down. Jacoby said I must face my pain. I can take it. If Laura can't tell us what's going on, maybe Heidi can." JAMES: "Has Cooper answered your call?" DONNA: "Just a text that we can see him tonight." JAMES: "Creamed corn. Yucky weird."

INT. BLACK LODGE

Mrs. Tremond, veiled in black funeral attire, stands in front of the formica table. She stands a black rose on its stem on the tabletop; it balances standing. Behind Tremond, just in front of scarlet drapes, Blackie O'Reilly appears in background, wearing Laura's black gown. Tremond stands a blue rose, Lil appears, blue gown. Salmon rose, Catherine appears, salmon gown. Red rose, Donna appears, red gown. Green rose, Audrey appears, green gown. White rose, Annie appears, white gown. Yellow rose, Roundtree appears, yellow gown. Grey rose, Laura appears, grey gown. Purple rose, Heidi appears, purple gown, Tremond disappears. Phillip enters, in foreground, running, breathing hard, black FBI suit, bleeding from the stomach. Phillip wildly gesticulates to the balancing roses. PHILLIP: "This here voodoo, well it ain't going to work, nohow!" Flailing to the women in background: PHILLIP: "Do you even know who you are, there!?" Phillip looks behind him. PHILLIP (whispered): "He's almost here!" Phillip runs through curtains opposite direction as entering. Chester moves the curtains aside where Phillip once entered, and does a dance around Phillip's blood trail, so as not to smudge it. Hand in pocket, he strolls to formica table, and regards the ladies across from him. He takes a toothpick out of his mouth. CHESTER: "Do any of you know Theresa Banks?" Laura walks forward to the table. LAURA (backwards speak): "I feel like I know her, but sometimes my back bends up." CHESTER: "I know this won't make sense tomorrow, but, this bent-back gal, she's gonna lead me to Theresa?" LAURA (backwards speak): "I feel like he finds her, but sometimes his nose gets bent out of shape." CHESTER: "Sheriff Cliff Howard." LAURA (backwards speak): "I feel like it was Mike, but sometimes my boyfriend makes his head snap back." Chester looks mystified. Laura returns to other women. TREMOND (VO, backwards speak): "Do you see roses?" Chester nods. TREMOND (VO, backwards speak): "Pick a rose." LAURA (backwards speak): "Pick a rose." DONNA (backwards speak): "Pick a rose." AUDREY (backwards speak): "Pick a rose." HEIDI (backwards speak): "Pick a rose." LIL (backwards speak): "Pick a rose." ROUNDTREE (backwards speak): "Pick a rose." ANNIE (backwards speak): "Pick a rose." BLACKIE (backwards speak): "Pick a rose." CATHERINE (backwards speak): "Pick a rose." Chester looks at the field of roses. He goes to pick the blue rose, then stops himself.

INT. PALMER HOUSE - LIVING ROOM - DAY

Eileen, Margaret, Betty, Sarah at card table playing pitch. Sarah looks up to distant nothing. EILEEN: "Thank you for giving Donna the dress." Sarah blinks awake. SARAH: "Laura would have wanted her to have it." MARGARET: "Your wedding dress really burned in the fire?" EILEEN: "The day I had my injury." BETTY: "What's Will have to say about your recovery?" EILEEN: "My word, is Will a mess. He's up at the hospital with Nadine. Lord, Sarah, Will thinks they are going to drag us through the mud." SARAH: "Eiley, Happy Helping Hands will never release all those things that happened the year before Laura and Donna were born. Those files are sealed. They can't hurt us." EILEEN: "Benjamin Horne can." SARAH: "Pfft. Benjamin Horne is..." Sarah looks up from cards, face blank, mouth agape.

EXT. ROADHOUSE - REFLECTION - PUDDLE - CONTINUOUS

Puddle has wind-tossed crepe paper ribbons, bleeding color. In the reflection of the puddle: an owl lands on a tall douglas fir branch just above the Roadhouse and Sheriff's cruisers, flashing.

INT. ROADHOUSE - CONTINUOUS (CGI)

Clear of patrons. Stage lit for night. Placide displays her slippers. Sheriff's and other agents, now with canines, stand at the ready. Cooper enters and marches to Placide. Placide offers him a seat. He does not acknowledge it. COOPER: "Give me one reason this warrant should not commence at once." PLACIDE: "I am Placide Renault, I am the Pie Lady." She stares up. Harry stares across bar. POV HARRY. Josie and Pete appear, transubstantial, near a far bar. She excited, biting her lip. PETE (mouthed): "This reminds me of the time the Log Lady stole my pickup truck..." END POV. PLACIDE: "I am Placide Renault, I am the Pie Lady." She stares up. Harry stares across bar. COOPER (to other Agents and Sheriffs): "Halt for further orders." The three men sit with Placide. She reveals a large slice of blueberry pie. "I have seen the face of Windom Earle in the form of the Log Lady, Miss Twin Peaks so many years ago. I have seen the face of Windom Earle in the form of the Owl Lady." HAWK: "Who is this Owl Lady, Placide?" PLACIDE: "Why The Queen of the Hive, The Queen of the Cave, The Queen of Ghostwood Forest!" HARRY: "Catherine Martell. Placide, we know you two don't get along. Legacies like the both of you are supposed to make Twin Peaks better for everyone." PLACIDE: "I'm not talking no silly vigilante court!" HARRY: "Placide, calm down." COOPER: "Twists of phrase are not going to twist you out of Federal charges, Mrs. Renault." PLACIDE: "A war is coming, Dale. Our own and our dear have already been and will be sacrificed." HAWK: "Maman Renault, don't go down this way." Cooper raises his salute. PLACIDE (to Cooper): "When Windom makes his next move, where will you be? Who will be who in this town?" COOPER: "Placide Renault, your zealous devotion to this town is laudable, but your implacable methods may be proven illegal. Commence the search." Placide is shocked as dogs and metal detectors fan out in every direction of the Roadhouse, producing almost immediate results. PLACIDE: "I AM Placide Renault! I am the Pie Lady! I am the third reckoning! I am the circle of light! I am the constant drummer! I am the thirteenth hour! I am the waterfall of oddity!" As she reiterates her list, en Français, she is placed in cuffs. COOPER: "Stranger and stranger..." She is wheeled out, as we hear axes chopping into walls of Roadhouse. PLACIDE: "... Je suis la cascade de bizarrerie!"

INT. PALMER HOUSE - CONTINUOUS

Sarah looks up from her cards. SARAH: "Something's happening." Margaret looks to Betty's purse. Betty's cell phone rings. She reaches for the strange multi-speaker phone. POV BETTY. We see Margaret, no log. We see cell phone lifted. We see Log Lady motionless with log. BETTY (OS): "Yes, dear, I understand." END POV. Beneath the table, Eileen's feet and legs twitch.

INT. HOSPITAL - NADINE'S ROOM - LATER - DAY

Nadine in coma in restraint chair. Though in a medical hair cap, a single strand of her shining red locks drifts, lit by instrument lights. At far end of room, Cooper, Albert, and Doc Hayward confer quietly. ALBERT: "Seriously, Doctor. What the f*ck is up with the Princess' eye?" DOC HAYWARD: "If I knew, Albert, I'd have the Nobel Prize. Brain injury is out, the MRI would have shown that. Could have something to do with the coma, since both conditions appeared around the same time. Drugs. She could have gotten into something up there at the facility, we're still testing. But, as it is, I feel like an old country doctor." COOPER: "Her eyes appear to be like Phillip Jeffries' eyes. Fascinating. Phillip was an FBI agent who disappeared under suspicious circumstances, Doctor Hayward." ALBERT: "Okay, enough mumbo-jumbo. Doctor Hayward: God-forsaken cloning process?" Doc Hayward looks down. DOC HAYWARD: "The results are back. Her eye contains new tissue, her tissue. It is not completely conclusive that the tissue is cloned. Not at all. Nadine couldn't have known this. Somehow, Nadine must of got wind of the fertility drug we gave Sarah all those years ago, that's what Eileen calls it, 'That God-forsaken cloning process.' Hell, I might have mentioned it to her, I don't know. It has similar properties, but would never work on ocular tissue." ALBERT: "Why would Nadine think that, Doctor?" DOC HAYWARD: "Eileen is convinced my exposure to Sarah's fertility drug has caused all these miracle healings. My arm, her legs, Nadine's eye, and your supervisor's ears." ALBERT: "Gordon Cole? Gordon Cole!? Doctor, you know that's medically f*cking preposterous." COOPER: "Mysteries are always preposterous until proven true or false." ALBERT: "Gee, thanks, Coop. This coming from the Agent who pours gasoline on anything preposterous." Cooper is taken aback, then comports himself. COOPER: "Albert, I am not here to obfuscate anything. I am here to discover the truth. And I will leave no stone unturned." LUCY (VO, radio distortion): "Agent Rosenfield?" COOPER: "Doctor Hayward, are you equipped to perform an MRI on the brain of Laura Palmer?" DOC HAYWARD: "I suppose-" ALBERT: "No! Coop, we are not going to go chasing magic mice that jump into your head every time you release your crazy cat. Palmer will remain under lock and key. The Bureau will know her vault is unsealed or tampered with." LUCY (VO, heavy distortion): "Agent Rosenfield? Do you copy?"

EXT. SHERIFF'S STATION - LATER - DAY

The shadows of birds flit over the station and windows.

INT. SHERIFF'S STATION - RECEPTION - CONTINUOUS

Below Lucy's station, we see Waldo, cage half cloaked. Lucy's hand feeds him a treat. Above, Albert, several Sheriffs, and Sam pass Lucy and Andy. Andy watches them pass. When they are gone, Andy nods to Lucy. She touches her headset. LUCY (very low): "Agent Rosenfield? Please come to the front desk, we have something for you personally." A moment later, Albert comes around corner. Albert opens his mouth to speak. LUCY: "So I sent my list and times of radio distortions, you know, the first one, Laura appeared, second one, Sarah disappeared, third one, everybody disappeared because everyone was in the blackout, and last night, nobody disappeared, that we know of. Well, that is just my notes." ANDY: "And Agent Rosenfield, the Bureau told us to inform you directly and no one else, they are sending another Special Agent, from counter-espionage, R. H. Thing is, Agent Rosenfield, the distortion happened a fifth time, when Lucy tried to tell you about the distortions."

INT. SHERIFF'S STATION - HAWK'S OFFICE - LATER - EVENING (CGI)

Albert stands, silent, arms and ankles crossed, with a mean smile. Donna and James sit, holding hands. Cooper enters. Donna approaches Cooper. DONNA: "I think I know what the creamed corn means." ALBERT: "Oh, this ought to be rich." Donna and James look offended. COOPER: "Tell us." DONNA: "Right before Harold Smith killed himself, leaving that note: 'J'ai une âme solitaire,' I visited who I thought was Mrs. Tremond. She made the creamed corn disappear from her plate and it teleported to her grandson's hand. Magic. That's when he said 'J'ai une âme solitaire.' When you went there, she and her grandson were gone. Her apartment was gone too, at least everything had been replaced in a day. I think I entered the Black Lodge." ALBERT: "It took you 25 years to figure that out?" DONNA: "No, when Heidi screamed 'creamed corn!' Well, my arm told, I mean my arm made me feel like that day 25 years ago with Mrs. Tremond. And I felt it that day in the Double R with that 'Let's Walk' guy ... 'Trey Something.' Heidi was all googly-eyed over him. Heidi went germophobe when some Lady on Meals on Wheels vomited creamed corn. It happened the same day as those Montana Palmers showed up, the same day as-" She chokes up. COOPER: "As Laura's internment." DONNA: "I think the creamed corn means something awful is going to happen." COOPER: "Why Donna?" DONNA: "Those creatures ... they make my arm hurt." COOPER: "Creatures?" DONNA: "I know that crazy old creamed corn lady is back." COOPER: "Miss Hayward, I have your statement. While I realize you are only trying to help, I cannot give you any information on Miss Vogel. And unless you have more to add, I'm afraid I will have to ask you both to leave." Albert motions to the door. Donna, hurt and James, confused exit. ALBERT: "That was a little harsh, Cooper. For anyone but me." COOPER: "Albert, long ago, the little man in the red room-"

Through the open door, we see Hawk as he steadies Harry as Harry swoons. HARRY: "First off, where am I?" Lucy passes by, gasping, as Albert hears this and bursts out laughing. HAWK: "You were dream-" Harry is embarrassed and enraged, Hawk holds him back from Albert. HAWK: "Agent Rosenfield, where were you at midnight two nights ago?" Albert shocked and petrified as FREEZE FRAME FLASH MONTAGE OVERLAY (stock): Nadine escaping Sanitarium, Bobby in Eon, Margaret and Giant at Cabin. BACK TO HAWK'S OFFICE. HARRY: "That's right, motherf-" COOPER: "Harry! Albert! Enough!" Harry heads to his office. Hawk turns to Cooper. HAWK: "Are you ready, Agent Cooper?" COOPER: "Yes, Hawk. I think I would enjoy the scenery." HAWK: "We'll suit up at the Great Northern."

EXT. SHERIFF'S STATION - FRONT ENTRANCE STEPS - NIGHT

James and Donna sit on steps, her head hung, his arm holding her. DONNA: "It's like Cooper doesn't care. Maybe we should just give up. Go see your parents. Live happily ever after." A tear falls from her eye as she strokes and holds her arm. JAMES: "I'm not going to talk to them until I'm good and ready." DONNA: "James, your inheritance is not just money. It's family." JAMES: "It's just going to make things worse." She brushes her hand against his cheek. DONNA: "I know, James." He strains a small smile, and wipes away her tear.

INT. DOUBLE R CAFÉ - NIGHT

Shelly arrives in civies. She plops down at the counter exhausted. Norma takes a pot of coffee from another waitress and takes it to Shelly. Norma pours coffee, smiles. Shelly summons a smile. SHELLY: "Norma..." NORMA: "Yes, sweetie?" SHELLY: "Norma, I just..." Shelly begins to falter. SHELLY: "I can't take this! Norma, I think I only got with Joey to get back at Mr. Pig-on-a-hog!" NORMA: "Sweetie, don't call James that. I've already told James and Donna they are 86'd from the Double R, or until we all are ready again, if ever." SHELLY: "I'm so sorry, Norma. First you were my boss, then my aunt, but you've always been my best friend." Shelly weeps in Norma's arms. Norma strokes her head, straightens her hair, grabs napkin for Shelly, moves coffee cup back. Shelly quieter, calmer. SHELLY: "I just don't think I love him, Norma." NORMA: "James?" SHELLY: "No, Joey." NORMA: "Do you love James?" SHELLY: "Swears!?" NORMA: "Just you and me." SHELLY: "Everyone loves James. Eternal boy. That's why I fell for Joey, he's responsible, a pillar of Twin Peaks, a man." Norma nods. "It's going to work out for you." SHELLY: "When? Husbands. I'm 0 for 3." NORMA: "Follow your heart. Chase your dreams." Shelly looks up. NORMA: "But most of all, be your best."

Bobby's crotch rocket pulls up outside. Bobby enters, helmet slung. He gestures wide. BOBBY: "How's the most beautiful gals in the history of Twin Peaks!" They smile broad. Shelly daubs her eyes, with Norma's assistance. Bobby turns to the Jukebox and selects a tune. NORMA: "Officer Briggs, finer than fine. Headed to work?" BOBBY: "Nope, just got a couple of hours to..." Music starts. BOBBY: "...kill." Norma pours a second cup of joe for Bobby and moves to other customers. Bobby sees Shelly's eyes, though she smiles through it genuinely. BOBBY: "Jimboy do that to you!?" SHELLY: "No! Norma..." Bobby looks perplexed. SHELLY: "Norma was just consoling me." Bobby grips Shelly's shoulders. BOBBY: "It's final!?" Shelly sniffles her nose against napkin. SHELLY: "Yes..." BOBBY: "Baby, that's great! Throw that greasy grease monkey to his lard bucket-" SHELLY: "Hush! Okay. Okay." Bobby and Shelly look around very cautiously. Norma doesn't see much of anything. SHELLY: "Thank you, Officer Briggs." BOBBY: "Say, Miss ?" SHELLY: "Shelly. Shelly McCauley." BOBBY: "Say, Miss McCauley, can I offer you a lift?" SHELLY: "On that?" Shelly points through windows to crotch rocket. Bobby nods. He lifts up his helmet. BOBBY: "I got two." Shelly shrugs, smiles and nods. SHELLY: "Let me go say goodbye to Norma." She does. Bobby throws a couple bucks to counter. With Norma, in back: Shelly and Norma finish hugging. NORMA: "Just make sure you don't turn in your pig-on-a-hog for fox-on-a-rocket." Shelly and Norma smirk. NORMA: "That gives me an idea for our new food truck." SHELLY: "Oh, Norma." NORMA: "Listen, Shelly, I'm serious. I want to guarantee your rights in part ownership of the Double R. You think about it."

INT. GREAT NORTHERN - BEN'S SECRET OFFICE - NIGHT (CGI)

Audrey enters. AUDREY: "Daddy, we are all being investigated." BEN: "Audrey. Have you any idea what you've done? We've spent 25 years cleaning up Horne Industries. You've jeopardized everything by bringing that FBI man back around here. Do you have the first clue what that means to this family!?" AUDREY: "Daddy, I have the right to pursue any business agreement I wish." BEN: "All 64 percent!?" AUDREY: "No, Daddy. 51 percent. The other 13 percent is a gift to Mom." BEN: "Audrey, you are-" Ben looks through papers. He flutters a paper in the air. BEN: "What's this!? You've already renounced your Canadian citizenship!?" AUDREY: "FBI agents have to disclose intentions to marry foreign nationals. One less hurdle." BEN: "And this Cooper, has he expressed interest in your immodest proposal?" AUDREY: "He will." BEN: "The leg caper, renouncing citizenship, One Eyed Jacks! You are on the razor's edge, young lady! I should never have given you ownership!" AUDREY: "Oh Daddy, you had no choice, if I recall."

Jerry squints at computer screen. JERRY: "Shut up, you two. Ben, come in see who's checking in at the front desk." Ben and Audrey come forward. We see the unclear video image of a well dressed couple in their sixties. Julie at the desk points, couple turn. He, having James and Ed's aspect, holds out his hand for room keycards. Julie complies. She, with a calico mane, darts her eyes around. MATCH SHOT to:

INT. GREAT NORTHERN - RECEPTION DESK - NIGHT

JULIE: "Welcome to the Great Northern, Mr. and Mrs Hurley. I hope your stay is practically perfect in every way, um, John and Catherine." CAT: "Jack and Cat!" Julie looks taken aback. JULIE: "Certainly ... Cat." Cat snaps her fingers at her bags. Julie gesticulates to bellhops. Bellhops grab bags. JULIE: "You'll love the penthouse, an authentically replicated addition to the Great Northern. We even had a film crew yesterday, in fact." Cat uninterested. CAT: "Mm-hm." As Cat, Jack and Julie arrive at the elevator, it opens revealing Audrey, Ben, and Jerry whose conversation ends and expressions flip to smiles. BEN: "John and Catherine Hurley! Audrey informs me your son intends to marry my daughter!" Jack and Cat are agape. CAT: "What!?" JULIE: "They prefer to be called 'Jack' and 'Cat.'" BEN: "Why, from what my dear Audrey has told me, we may be brothers-in-law as we speak!" Ben extends his arms, embraces Jack. BEN: "Brothers." Jerry baffled, then struck, shrugs, smiles, grins, joins embrace. JERRY: "Brothers." Bellhops enter elevator. JULIE: "Don't forget your roses." Julie hands Cat a bouquet of roses in long rose box, which she closes and bands with a snap. JACK: "Yes ... Brothers." Though he looks to Cat questioningly, a genuine smile crosses his face, as he closes his eyes and the three brothers sway in the hug. Cat turns away in disgust, to Audrey, who has a skeptical smile. AUDREY: "Welcome to the Family, Auntie ... Cat." Audrey does not wait for Cat's reaction, but strolls toward dark BALLROOM.

INT. GREAT NORTHERN - BALLROOM - CONTINUOUS

Audrey strolls into the dark room, toward the grand ballroom windows. Through the doorway, we see Jack and Cat converse with Ben and Jerry, all reacting awkwardly to Audrey's departure. Audrey moves to stare through windows at the star-frocked night, the canopy of douglas fir silhouettes above their reflections on the lake near docks at the Great Northern. She sees Hawk and Cooper in diving equipment, boarding a Sheriff's patrol boat. Her eyes sparkle with excitement and intrigue. As they load equipment far below, Audrey opens window. She sits in the sill. Listens. Smiles. She lifts a cigarette. Lights it. Her face glows slightly red with each puff.

S3:E13: ACT THREE

EXT. TWIN PEAKS - GREAT NORTHERN - DOCKS - WATERFALL- LAKE - BALLROOM WINDOW - PATROL BOAT - LATER - NIGHT

From high above, we see the faintest image of Audrey in the window as Hawk pilots the patrol boat down lake. Our view descends past the waterfall, through mist to:

EXT. TWIN PEAKS STREET - NEAR GREAT NORTHERN HILL - CONTINUOUS

We see a flyer caught in a bush. Flyer reads, '25 Year High School Reunion Planning Committee' and a smaller list of names: 'Bobby Briggs, Donna Hayward, Audrey Horne, James Hurley, Shelly Hurley, Lana Milford, Mike Nelson, Joey Paulson, Ronette Pulaski, Albert 'Bear' Renault.' A single donut hole rolling. Spinning, it rolls down the hill. In spinning flight, it is snatched by a crow in flight, taking it up into the sky.

EXT. SKY - THE NEW MOON - NIGHT (CGI)

The sky above douglas firs dazzles with a skyline exquisitely splattered with stars in the lightless night. The moon blots the stars in a perfect circle new moon black. The stars ripple, the circle of blackness grows and forms into the silhouette of the Dweller on the Threshold, cloaked in perfect blackness, surrounded in stars. The view flips. The Dweller now composed of stars in a field in unending black. Caption: 'Midnight, March 8.' Though an outline, the Dweller seems to turn its head from left to right. The Dweller grows and forms to a perfect circle of stars surrounded by black. Circle morphs to rough circle, the shape of the pool to the Black Lodge. Sycamores surrounding the pool come into view.

INT. BLACK LODGE

Chester sits in chair across from Man From Another Place in the chevronned red-curtained room. Chester looks around. Man From Another place smiles. Theresa enters, dressed in same black gown as Laura. CHESTER: "Theresa Banks." THERESA (backwards speak): "I feel like I repeat her, but sometimes my ring fades backwards." Enter Sheriff Cliff Howard, a trail of blood down his forehead and nostrils to his shirt, but no bullet wound. CLIFF (backwards speak): "Sometimes things can happen just like that." Cliff snaps fingers. CHESTER: "Did they kill you because of Theresa?" CLIFF (backwards speak): "Sometimes I know I got a hunch, but sometimes my back bends. CHESTER: "So I'm looking for a hunchback." CLIFF (backwards speak): "One and the same." THERESA: "One and the same." CLIFF: "Ashes to ashes..." PHILLIP (OS): "DUST TO DUST!" Theresa and Cliff disappear. CHESTER: "Now, why'd you have to go and do that? It's taken me forever to get this far." PHILLIP (backwards speak): "I feel like I know Judy, but sometimes that Arm gets twisting." CHESTER: "One of you again. When you yelled, you were normal. Now you're not. Show me your eyes." Chester moves his head back and forth. Phillip's eyes oscillate between normal and doppelganger, like a hologram. CHESTER: "Makes me wonder if the two of us have ever really met."

EXT. WOODS - GLASTONBURY GROVE - THE BLACK LODGE - NIGHT (CGI)

Caption: 'Midnight, March 8.' Hawk and Cooper stand in scuba gear, look to the pool of oil in the grove of sycamores of Glastonbury Grove. The oil forms hands and arms, 24 arms reaching out and withdrawing into the pool, made only of oil. These arms manipulate the pool into a perfect circle. The pool forms into circular objects made only of oil: saw blade, clock face, donut hole with cherry, Cooper's ring, round bowl of creamed corn, round cup of joe, poker chip, owl's eye, full cross stitched pie, bookhouse boys patch, Jade ring gem with owl cave symbol, donut, single stop light, Owl Cave Map tree ring, chess piece pawn, face of sawed log, bowl of Johnny's fruit mimicking Laura's eye, orange of Laura's iris, cherry pupil, fractalizing. The pool quiets. Forming upward, Laura, at first her head, then torso and body until she is Laurapool. HAWK: "Laura." Cooper holds up his salute. Laurapool splits into 12 Laurapools holding hands around the pool. As a crescent 'moon' of light dawns, the minutest sliver of moonlight splits across the coven of Laurapools as they vanish. Only the pool remains. HAWK: "What's it mean, Agent Cooper?" COOPER: "It is future. It is past." Cooper turns to Hawk, pats his shoulders, huge smile. COOPER: "Garland, Margaret, Sarah, Dale." HAWK: "The Four." COOPER: "Yes, Hawk." COOPER: "Something is very wrong..." HAWK: "...in the Palmer Family. The name in the darkness." COOPER: "The name hidden to all, except the FBI. But somehow you know, Hawk, don't you?" HAWK: "I only know there are many souls wandering. Both in this world, like Donna Hayward, and from the next, like Leland and Bob and Laura. COOPER: "But right now, Hawk, it is about to get strange." Wink.


	14. Don't go there

(first edit)

TWIN PEAKS: EPISODE 14: "DON'T GO THERE."

S3:E14: TEASER

INT. GREAT NORTHERN - ROOM 315 - NIGHT (CGI)

A hand waves over Cooper, asleep and gnarled underneath his comforter, half of a glass of milk on his 'Josie' night stand. Cooper gasps awake. COOPER: "Is it future or is it past!" An eerie omnipresent amber light glows everywhere. Cooper feels to see if he has braids, but he is present Cooper, no braids. COOPER: "I will see my braids in my glass of milk." Cooper reaches for his milk. The Giant holds up his hand. GIANT: "No mirrors. I tell you these things, so that you will believe me." Cooper nods, calms. GIANT: "Your dreams are under attack. Nothing is as it seems." Cooper stares. GIANT: "You do not agree?" COOPER: "The owls are-" GIANT: "No. No owls. Better to seek Betty." COOPER: "How can I know if these dreams and visions are real?" GIANT: "Trust." COOPER: "Trust?" GIANT: "Before or after clues. Past or future. Before clues are guesses. After clues are facts. Write that in your diary, Cooper. The Log or the Eye." COOPER: "I'm beginning to understand, and I know I must not say what I understand." GIANT: "300 moons." COOPER: "25 years." GIANT: "Remember: This did not happen now. And remember: You are now free of the Black Lodge. 300 moons." The Giant waves his hand. Cooper not only disappears, but his bed looks unslept-in, the glass of milk gone.

EXT. WOODS - GLASTONBURY GROVE - STOCK AND NEW FOOTAGE - NIGHT (CGI)

As a crescent 'moon' of light dawns, the minutest sliver of moonlight splits across the coven of Laurapools as they vanish. Only the pool remains. HAWK: "What's it mean, Agent Cooper?" COOPER: "It is future. It is past." Cooper turns to Hawk, pats his shoulders, huge smile. COOPER: "Garland, Margaret, Sarah, Dale." HAWK: "The Four." COOPER: "Yes, Hawk." Cooper looks down. COOPER: "Something is very wrong..." HAWK: "...in the Palmer Family. The name in the darkness." COOPER: "The name hidden to all, except the FBI. But somehow you know, Hawk, don't you?" HAWK: "I only know there are many souls wandering. Both in this world, like Donna Hayward, and from the next, like Leland and Bob and Laura." COOPER: "But right now, Hawk, it is about to get strange." Wink. Cooper moves closer to Hawk, face to face. COOPER: "Tapes." Cooper winks. Hawk looks intently at Cooper. COOPER: "Do you see, Hawk?" Hawk leans in, even closer to Cooper, staring into Cooper's eyes. HAWK: "I see, Agent Cooper, but I do not understand." Cooper stares back at the pool. COOPER: "Do you see what I mean?" HAWK: "Yes, Agent Cooper. Now I understand, and know I must not say what I understand." Cooper beams. COOPER: "Yes, Hawk!" Cooper collects dust at edge of pool. Cooper unceremoniously heads back to the boat. Hawk gives a last glance to the pool, and follows. As they walk, we see a sparse night mist clinging to forest floor in patchy tufts. HAWK: "Agent Cooper, what did you mean by strange?" COOPER: "Sparkwood burns to ashes. The ashes are ashes of Ghostwood. Ashes of the Ghost." Cooper holds up vial of dust.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks [sketchy glitch] & Fire Walk With Me & [sketchy glitch] Light Walk With Me cast members.

S3:E14: ACT ONE

INT. SHERIFF'S STATION - HARRY'S OFFICE - NIGHT

Albert's stands in front of Harry's chessboard in mid-game, Albert's face lit by a tablet he scrolls through. Albert shakes his head. Special Agent Roger Hardy looks sternly at Albert. We see Sam, uncharacteristically perspired. ALBERT: "Welcome back to 'Frankenpeaks,' Agent Hardy. While I'm glad you're not with Internal Affairs, the fact you are with Counter-Espionage gives me no solace." ROGER: "First off, Agent Stanley. How the hell do you mess up a DNA analysis so badly that the hair sample does not belong to our suspect, but an entirely different family?" SAM: "The sample must have been contaminated, or more likely, replaced or mislabeled." ROGER: "You realize that fact is exculpatory for the defense. In fact, we can withhold neither the fact that the test was botched, nor that it doesn't belong to Leonard Johnson, nor that it belongs to Subject A." SAM: "I had both samples quadrisected." ROGER: "Good, we have two more chances to botch it." SAM: "It might have been tampered with. I assumed the local facilities would be adequate..." ALBERT: "Primitives." ROGER: "And this collar, missing from the evidence room. Another 'tampering?'" Sam frowns. As Roger moves in front of Sam, we see the chessboard. ROGER: "And where the hell is Agent Cooper?'" The queens are fallen on their sides.

EXT. TWIN PEAKS STREETS & RIVERSIDE BOULEVARD - NIGHT

Through drifting fog, a man with helmet on a Harley passes Big Ed's Gas Farm, the 1929 Rolls, and Ed & Norma's house, new door, at 422 Riverside, and the mailbox with the address, recently tipped at an angle, the dirt fresh.

EXT. WOODS AND SPARKWOOD & 21 - NIGHT (CGI)

The intersection and 7 stop lights in the foreground, the hog pulls off road into the woods and a dirt trail. The hog disappears into the douglas firs. Further in the woods, through douglas fir needles obscuring our view, bejewelled in dew, the man pulls up on hog near James and Donna and James' bike in a clearing. Closer to the clearing. James holds Donna. JAMES: "I'm glad you came to your senses. We're not giving up on Laura." DONNA: "Even if Cooper fights us?" JAMES: "Even then." Cappy takes off his helmet as he approaches. CAPPY: "I don't know about this, James. Not telling Harry, or Joey. Joey's your partner. Bookhouse boys don't turn on their partner." JAMES: "I need someone to cover my back. Uncle Ed's out of town until tomorrow night. Joey's with Shelly now. Something's going down right here tonight." CAPPY: "I'm a deputy, I got to report what I got to report." JAMES: "Yeah, a man's got to do what a man's got to do. But, no um, malfeasance, officer." James grins. JAMES: "Nothing like that. ... Donna?" Donna steps forward. Donna's contorted left arm disappears in green fractal sprays as it reaches into ? Arm withdraws to normal, the three not seeing it disappear. CAPPY: "Okay...um. What's... Something wrong with your arm, Donna?" JAMES: "It's weird, Cappy. It's like weirder than weird. It's beyond the weirdest thing. It's like superweird or something."

EXT. SHERIFF'S STATION - LATER - NIGHT

Cooper moves toward front doors, donning his suit jacket. Cooper turns, breathes in, smiles. Turning back to doors, he enters.

INT. SHERIFF'S STATION - CONFERENCE ROOM - CONCURRENT

Lil monitors a laptop and silent live video of Int. Jail Cell. Cooper enters. Albert stands with arms crossed. ALBERT: "You just missed Agent Hardy." Cooper snaps his fingers. COOPER: "Internal Affairs!" Albert snaps his fingers. ALBERT: "Nope." LIL: "Shh!" As Albert is about to speak, Cooper holds up his salute, pointing to the monitor. COOPER: "We cannot legally record audio-" LIL: "Shh!" Lil's eyes concentrate on the lips of the incarcerated. COOPER: "Albert, I believe Catherine Martell to be influenced by the Black Lodge. I also believe Leo Johnson to be likewise. And Juliette Renault. Perhaps even Placide Renault. That is why I have chosen to put the Renault Man, _Albert_ or 'Bear' Renault, in with them. Four friends inside the circle..." LIL: "Shh!" Lil begins reading lips. LIL: "Maman, you must not..." INTERCUT WITH JAIL CELL. JULIETTE: "...fight Agent C-c-c." LIL: "Maman, someone is trying to..." JULIETTE: "...h-hurt us." LIL: "Audrey is a good woman, she is not trying to..." JULIETTE: "...f-frame the Renaults." LIL: "You should never have trusted Bear to..." JULIETTE: "...s-s-stop this evil." Staying with JAIL CELL: Placide and Juliette look to Bear Renault. He stands from his bunk and shuffles side to side, his arms in an 'ocean wave.' FLASHBACK INT. TWIN PEAKS HIGH SCHOOL - THE PAST - DAY James passes Audrey, who caresses his arm as she passes. James approaches Donna, smiling. JAMES: "Have you seen Laura?" DONNA: "No, not yet." JAMES: "Nice day for a picnic." Donna smiles. DONNA: "Uh, yeah." James and Donna exit. Students walk by. At lockers, young 'Bear' Renault snaps his fingers, shuffles side to side, his arms in an 'ocean wave' as he exits dancing. Andy and Hawk pass in the far background. BACK TO JAIL CELL. Placide looks exasperated. PLACIDE: "The Dancing Man! Merde!"

INT. GREY LODGE - BLACK & WHITE (CGI verboten!)

Lighting strange. Four Black Lodge Chairs, facing each other. A single grey curtain, the width of the chair, behind each chair. Grey floor. Black veined white marble circular walls at the distance of a stadium, encrusted with wooden vines. Centenarian Cooper sits with the other centenarians: Waiter, and Placide. The fourth seat empty. Strange lightning. Cooper, Waiter and Placide all raise left hands and point at the fourth empty chair. ALL: "The One Legged Woman." Centenarian Audrey appears. In a sparkling gown made of ?, which under the strange lightning lighting seems at times to shimmer with light, sometimes black, sometimes wholly odd textures in textile greytones. Audrey's legs, revealed through the slit of the gown, are perfectly sinewy, perhaps a girl of eighteen's? The three lower their points. Centenarian Audrey smiles, bites her lip, fades away, leaving Cooper, Waiter, Placide.

EXT. SHERIFF'S STATION - AT BASEMENT WINDOW - NIGHT

The translucent light within hides a figure moving in a basement room. Our view is further occluded by a breath of passing mist.

INT. SHERIFF'S STATION - BASEMENT - SAM'S HUB - NIGHT

Sam's hub is a lab of strange equipment, microscopes, forensic stations, and computer screens. Outside the small window in the steel door we see the Sheriff's ordinance firing range. Sam talks to Gordon, on video. SAM: "Chief Cole, there are rumors in this town. Even about you and your ears, and that incident with S. Johnson, the waitress, 25 years ago." GORDON (VO): "Ridiculous, Sam. The Modified Cochlear implants are what improved my hearing. Tell the good Doctor that: although the practice of medicine is not an exact science, it is not a guessing game either." SAM: "Yes, sir." GORDON (VO): "Now the good news. Agent Roger Hardy." SAM: "Good news, sir?" GORDON (VO): "Bad news: Data, Cyber, Tech Ops, Lab, and International all have memos on my desk. Why do you think that is, Sam?" SAM: "Well, sir, do to the nature and complexity of the problem of Twin Peaks, and polyphasically thinking of all possible related interactions of those people, events, forensics, histories, and testimonies, I may have gotten giddy with my Information Requests." GORDON (VO): "You sound like a cross between a lawyer and a madman, Sam." SAM: "Yes sir, thank you sir." GORDON (VO): "Not really a complement, Sam. IR's aside, shall we speak plainly, Samuel?" Sam presses buttons. SAM: "Yes, Gordon, not a complement. And yes sir, I would enjoy that. To part with the conventions of the deductive process-" GORDON (VO): "Hush, Sam. Did you hear that?" SAM: "Line clear." GORDON (VO): "One hopes so, 12-13-14." SAM: "Go." GORDON (VO): "Too many owls, and now the worse news: tell Cooper, unless he can provide a certifiable result, in 3 days, he is to abandon this line of inquiry into the miracle cure and that fertility drug. End." SAM: "Stop." GORDON (VO): "Philly ain't no philly these days." SAM: "Agreed, Chief. And I'm sure Cooper would reply, (VO COOPER) 'Done and done, Gordon.'" Gordon smiles, presses a button and his image on the monitor 'strange pixelates' to blue screen with FBI logo.

EXT. ONE EYED JACKS & THE PEAKS - NIGHT

Guests enter the casino. Two security guards watch the docks and parking lot. Mist over the waters. In distant background, the telescope of Horne Observatory turns, flashes with reflection.

INT. ONE EYED JACKS - OBSERVATION BAY - NIGHT

Below the soundproof two-way mirrors, the casino is bustling. A tuxedo-suited African American man with greying dreads deals blackjack below. He looks up to windows. Nancy presses a button. We see on a monitor camera zooming to dealer below and name tag: 'Lawrence Jones.' We see on a monitor, a camera moving and zooming to INT. CASINO. On monitor, Daniel (between), Aurora (Green frosted blond), and Lela (Red frosted silver), gamble at slot machines, their faces blank and lost. BACK TO BAY. Nancy turns to the much younger Nicky. NANCY: "Nicky, I'm going to make Blackie proud. I'm going to make all the O'Reillys proud, and all the Renaults. Hell, I might even make the Hornes proud." NICKY: "And Maman and Sis?" NANCY: "We're in charge now." NICKY: "Maman told me she's dying and it don't matter. She and Papa have been in Twin Peaks for a hundred and three years, and it just don't matter anymore." NANCY: "Juliette has already leveraged One Eyed Jacks." NICKY: "Leveraged?" NANCY: "Judge Sid."

EXT. JACOBY BUNGALOW - NIGHT

The Hawaiian style dwelling is festooned in early spring flowers. The bungalow is dark, but the stone path to the door is lit by half a dozen tiki torches on each side. Smoke from the torches mixes with wisps of mist passing by. A light turns on in one of the rooms.

INT. JACOBY BUNGALOW - OFFICE - CONTINUOUS

Jacoby in floral print pajamas looks through a drawer. Near a roll of red yarn, he finds a pistol and puts it in a satchel. Inside the satchel: his secret split coconut, a fifth of vodka, paperwork and folders. One folder opens as he inserts the pistol. To a picture of Laura Palmer, age 17. Golf balls and a Hawaiian totem carving at bottom of satchel. Jacoby checks his cell phone. EOLANI (VO): "Lar? Come back to bed." Jacoby removes another cell phone and places it with gun. JACOBY: "Just a minute, my love, my love, my island queen, my love."

EXT. TWIN PEAKS - THE PEAKS - LATER - DAWN - ESTABLISHING (CGI)

A fog has entered Twin peaks, and the peaks rise above it in the far distance. Traveling supersonic over the mist, straight up the mountain to Horne Observatory. Outside, rather than a lonely remote installation, instead, cars and tourists exit the busy establishment. We see the commemoration plaque, reading: 'HORNE OBSERVATORY' 'We place you among the stars.' As we turn from the Observatory, the only two buildings visible above the fog are the tip of the Penthouse of the Great Northern, and on a far opposing hill, the Asylum.

INT. TWIN PEAKS ASYLUM - DAWN

Annie and Cooper and Gerard sit in the dayroom. All have smiles, Gerard a strange sheepish curl. COOPER: "Who is the One Legged Woman?" GERARD: "Who is the One Armed Man?" Cooper turns to Annie. Gerard grins surly. ANNIE: "He can't answer right now, they just gave him his shot." COOPER: "Haloperidol. Fair enough. Annie, who is the One Legged Woman?" Annie pats Gerard's hand. He seems to calm. ANNIE: "It's okay, Phillip, we know this is difficult for you, but you must try." Annie turns to Cooper. ANNIE: "If I told you that the Log Lady does not exist, you would not believe me. But if I told you that the Man inside the Log does not exist, you might believe me." COOPER: "Annie, what are you saying?" ANNIE: "The One Armed Man is the Man trapped inside the Man. The One Legged Woman is-" Cooper raises his salute as he sees Jacoby enter with satchel. Jacoby checks in at counter. He turns and shaka waves 'hello' to Cooper et al. As he makes his way over, Annie shakes her head violently 'no!' Jacoby turns on his heel, and heads down corridor to Johnny's room. Gerard snickers. Cooper turns to Annie. ANNIE: "The One Legged Woman is the vision trapped inside the moment." Audrey enters, goes to counter, rushed and slightly perspired. She wears a teal business suit. Audrey flutters her fingers showing she has no rings. She checks herself in a hand mirror, noticing Cooper in reflection. Audrey beams, twirls, and shoes away the nurse as she strides to Cooper. Cooper stands, smiles. COOPER: "Miss Horne." Audrey glares at Annie for a brief moment. AUDREY: "Why, I had no idea you would be here, Agent Cooper! Can we talk later?" GERARD: "A penny for a cotton ball, a penny for a needle, that's the way the money is spent, pop! goes the weasel." Cooper almost smiles. Audrey awkwardly smiles. COOPER: "That may not be possible, Audrey." Audrey leans in, whispers. AUDREY: "Then I'll wait for you tonight." Audrey exits to Johnny's room.

JOHNNY'S ROOM - CONCURRENT

Johnny sits quietly on his bed. He stares across the white room to cabinet with his possessions, including the Native American headdress, locked under a chainlink grid and bars. Johnny's long hair is moosed into a makeshift headress. He bobs back and forth. On his bed are pictures and representations of entirely black new moons. Jacoby moves two golf balls, one in front of the other, simulating a makeshift eclipse in front of the bright morning light of the window. Outside the window, fog occludes the lower environs of Twin Peaks. Audrey enters. Jacoby pockets the golf balls. AUDREY: "Johnny!" Johnny uncharacteristically turns toward Audrey. Jacoby notices. AUDREY: "Doctor Jacoby." Audrey sits next to Johnny, carefully setting Johnny's pictures in his lap. AUDREY: "I hope you can hear me, Johnny. You're coming home! It's temporary, and Mom and Dad can't wait to see you, too. We want you to be there, because your other sister is getting married!" JOHNNY: "Lau-ra?" Audrey smiles, plays with Johnny's hair. AUDREY: "Yes, Johnny, Donna is getting married." JOHNNY: "Laura." JACOBY: "I was mystified why Johnny wanted me to be here today. His release! New moon! A wedding! Of course! Hallelujah!" Jacoby skirts up to and sits right next to Audrey, arm around her shoulder. JACOBY: "You see, Audrey, family imprinting. Johnny was trying to tell me how excited he is to go home." Johnny war-whoops. AUDREY: "Family fun time?" JACOBY: "Wouldn't miss it." AUDREY: "I will be doubling your retainer, Doctor." JACOBY: "You know that's not what I want." Audrey sighs, opens her portfolio, and hands Jacoby a picture of Laura. JACOBY: "Are you sure this is the original!?" Jacoby sniffs the photo. AUDREY: "The original photo Laura gave Daddy. He doesn't deserve it either." Johnny touches Laura's face. Audrey stands as Jacoby puts the picture carefully in his satchel. AUDREY: "Get Johnny ready." JOHNNY: "Laura..."

DAYROOM - CONTINUOUS

Cooper returns from a drink station with two cups of coffee for Gerard and Annie. COOPER: "Phillip Michael Gerard, thank you for agreeing to help us to conduct an experiment." GERARD: "I always want to be helpful, Agent Cooper, but sometimes I'm just not myself." ANNIE: "The Good Cooper is not in the Black Lodge, the Evil Cooper is in the diary now." COOPER: "What does that mean, Annie." Annie drops her head. A tear rolls down her cheek. Cooper holds her hands. GERARD: "Sister, are you okay?" COOPER: "Annie?" In background, Audrey exits hallway to see their hands embracing. She sighs and exits. ANNIE: "The ring of owls." GERARD (parroting a myna bird): "The ring of owls." Gerard squawks.

EXT. WOODS NEAR EASTER PARK - MORNING - LATER (CGI)

The douglas firs undulate in the fog under the sun. The fog causes strange and fleeting images of overlapping branches beneath fog brushstrokes and glinting morning sun, splashed in odd spectra.

EXT. EASTER PARK - DOCKS & GAZEBO - MORNING - CONTINUOUS

On the docks next to the lake, Cooper stands with Andy, Lucy, and Hawk, all in civies. Hawk has Waldo, tied with jesses, perched on his blue-gloved hand. COOPER: "Thirteen is not unlucky in Tibetan culture. Quite the opposite. 25 years ago, I employed a similar method to discover that Leo Johnson was integral on the night Laura Palmer was murdered. I utilized the zen of the stone. You were there, Lucy. Andy, you were hit in the head. Hawk, you held the stones. Harry, your mind was opening to new methodology. Albert was not there. I intend to open your mind, Harry. All things are related. The mystery of Josie will be solved tonight." Hawk watches Cooper turn his ring with thumb. HAWK: "I am the guide." ANDY: "Who am I, Agent Cooper?" COOPER: "Andy, you're the watchman. Watch for owls." Andy stands proud, Lucy entranced in Andy. LUCY: "And me?" COOPER: "Lucy, you are the key." LUCY: "I'm the key?" COOPER: "You will determine if Waldo is being naughty or nice." LUCY: "That's easy." HARRY: "I hate to ask..." COOPER: "Harry, you are not fully here right now." HAWK: "Dreamquesting." Cooper beams. COOPER: "Yes, Hawk! The dreamquester. Or the dreamquestion." HARRY: "Coop, if all this will help, I'll go along. What's this question?" COOPER: "Just as 25 years ago, there is no question. There is only Waldo." HARRY: "How's this supposed to work?" SHOW PHOTOS of: COOPER: "I have placed photos of over 100 people on the ground, in grids of 13. Characteristic of common myna birds, Lucy, you will record each time Waldo bobs his head, the number of bobs, and the picture or open space he bobs on. Harry, you will listen for Waldo to speak. I have used a stone to represent the center of the circle, and placed a small portion of dust under the rock, for reasons I cannot specify." Hawk nods. COOPER: "Hawk, place the blinders on Waldo, remove his jesses, and place him on the rock at the center of the circle of photos." HARRY: "And this is supposed to help me sleep?" COOPER: "Yes, Harry." Hawk places Waldo on rock. Waldo jumps down, and moves toward mist-dappled portraits, aligned on the ground. Pictures [with FBI labels in brackets]: Wolchezk, Windom, Will, Waldo, Waiter/Jerard, Tremond (sketch), Toad, Thomas, Theresa, Sylvia, Judge Sid, Doctor Shelvy, Shelly, Scotty, Sarah, Sam, Roundtree, Ronette, Roger, Robby, Raven, Placide, [Timothy Edward Pinkle] Pinkle, Phillip, Peter, Pete, Norma, Nicky, Neff, Nancy, Nadine, Monkey, Mike, Man from Another Place (sketch), Maddy, [Midge Theresa Jones], Lucy, Log Lady, Lil, Leo, Leland, Lela, Laura, [Greyson Odysseus Lanterman] (Lantern Man), Lana, [Lawrence Martell Jones], Juliette, Julie, Judy, Josie, Johnny, Joey, Jerry, Jean, James, Jacques, Jacoby, Jackson, Jack, [Margaret Lilibeth Honeycutt], Heidi, Heba, Hawk, Harry, Harriet, Harold, Hank, Grandson/Magician (sketch), Gordon, Giant (sketch), Gersten, Gerard, Garland, Eolani, Eileen, Ed, Dweller on the Threshold (sketch), Donna, Diane, Denise, Daniel, Dale, [Clifford Anthony Howard], Chester, Catherine, Cat, Caroline, Carl, Cappy, Brocklehurst, Bobby, Bob (sketch), Blackie, Betty, Beth, Bernard, Ben, Bear, Aurora, Audrey, Annie, Laura's Angel (sketch), Andy, Andrew, Albert, [Abigail Zarabeth Brennan] Abby. MONTAGE. Lucy recording on tablet, Andy staring to trees, Hawk going to Gazebo, Cooper and Lucy following Waldo. And three bobs to Josie. Three bobs to Harry. Three bobs to Log Lady. And three bobs to Abby. All gather around Lucy and Andy with questioning looks. END MONTAGE. LUCY: "Don't look at us, he's the birdbrain." ANDY: "Agent Cooper, Agent Cooper! Abby is coming home next week for spring break!" COOPER: "Lucy, now think carefully, is Waldo being naughty or nice?" LUCY: "I don't want Abby mixed up in this! I hate you, Waldo! Mean. Very, very mean! I meant naughty, Agent Cooper. Come along, Chief Brennan." Andy and Lucy gather Waldo and exit. Harry approaches Cooper as all collect photos, Harry stopping on an old photo of Josie. HARRY: "Coop, Hawk, I think I know what it means." Hawk nods. COOPER: "Really, Harry!?" HARRY: "I'm trapped inside the Log. Margaret's Log. I'm there right now. With Pete Martell and Josie and the Log Lady's husband, Greyson Lanterman." All stare at Harry. Harry's glassy eyes stare into the woods. WALDO: "Naughty Agent Cooper."

FAR SIDE OF PARK

With the Gazebo and Harry, Cooper, Hawk in background. Donna carries a picnic basket and James carries a small cooler. DONNA: "Didn't you tell me once your Dad died when you were..." JAMES: "When I was 10. Don't you remember, I told you later I lied. Sh*t! That's Agent Cooper! Why are they picking up trash?" DONNA: "Those are pictures." JAMES: "Weird." DONNA: "Let's go to the falls instead." JAMES: "I thought you wanted to practice our vows in the gazebo." DONNA: "I'd rather practice something else." Donna pulls James into a kiss. James grins. James kisses her deep.

S3:E14: ACT TWO

EXT. TWIN PEAKS TOWN HALL - LATER - DAY

On the double doors, a notice reading: 'Court in session, no admittance. Use Fire Station or Administration entrances.' The paper rustles in the wind of a drifting fogling.

INT. TWIN PEAKS TOWN HALL - REDRESSED AS COURT - CONTINUOUS

Bobby, in uniform, stands next to prisoners as they enter. In orange prison jumpsuits, reading 'TPSD Prisoner' and on their backs, 'KEEP TWIN PEAKS CLEAN' are assembled: Catherine (looking at her nails), Leo (glaring at Cooper), Bear (looking around), Juliette (weeping), Placide (resolute). We see a Bailiff, whose name tag reads: 'Martha Grimes' 'Bailiff.' MARTHA: "Hear ye, hear ye. Please rise for the Honorable Judge Sidney Sidney, County Magistrate for the Town and County of Twin Peaks, Washington. All matters before this court shall be heard. This court is now in session." Judge Sid enters from rear door. Her hair in Native American braided bun and beadwork hair clasp. She approaches the long table used as her bench, smiles, sits, pounds gavel. Audience sits. MARTHA: "First case: _Albert_ Renault, bail hearing, possession of unlicensed firearm." Lana stands. LANA: "Lana Milford for the defense, your honor. Mr. Renault's first offense. Mr. Renault has agreed to testify against his grandmother, in exchange for a lesser charge, which the Government has yet to agree to, in exchange for bail lenience." JUDGE SID: "Prosecution?" ALBERT: "No objection." JUDGE SID: "Bail set at 100,000 dollars. I'm not about to agree to something up in the air." Gasps in audience. Gavel pounds. Bear is taken out of court. FADE TO: MARTHA: "Next case: Nadine Nelson, competency hearing, Murder in third degree." LANA: "Defer to expert opinion, your honor?" JUDGE SID: "Granted." JACOBY: "Doctor Lawrence Jacoby, psychiatrist, your Honor. Listen, Nadine Nelson is in a coma, and was institutionalized for numerous mental disorders, and most importantly, has not undergone current examination on the question of her mental state. I mean, who really knows." JUDGE SID: "Prosecution?" HARRY: "Judge Sid. Sheriff Harry S. Truman. We want to forgo the competency hearing in favor of immediately declaring Nadine incompetent to stand trial." JUDGE SID: "What say you, Doctor Hayward?" Doc Hayward, in audience, is surprised he is called forward. He takes a position next to Jacoby, uncomfortably. DOC HAYWARD: "Your Honor, I don't see the point in trying or testing Nadine. What she needs is care or a cure. I doubt she would understand, even if she woke up." We see Mike in audience at times almost angry, but watery eyed and stonefaced. Bobby notices Mike. JUDGE SID: "I'm ordering a stay of prosecution on suspect Nelson's Murder of Beatrice Roundtree until such time as she can be tested for competency." Gavel pounds. FADE TO: MARTHA: "Next case, Juliette Renault, bail hearing, conspiracy in and desecration of the grave of Laura Palmer." Juliette weeps among the prisoners, her face downcast and dripping. JERRY: "Gerald Horne for the defense, Your Honor. Juliette didn't do this, everyone knows that. She loves Laura. We all do. Her car was stolen, dumped in the lake with planted evidence, none of which points to my client." ALBERT: "Request electronic monitor, your honor." JUDGE SID: "This is serious business. Bail set at 250,000 dollars." Gavel pounds. FADE TO: MARTHA: "Next case, Placide Renault, bail hearing, possession of unlicensed and illegal weapons, trafficking, distribution of said firearms." JERRY: "Judge Sid, she's one hundred and three years old. Just trying to protect her family from all these bad bad things going on in lower Twin Peaks." ALBERT: "Request remand." JUDGE SID: "Prisoner will not be remanded. Bail set at one million dollars." Gavel pounds. FADE TO: MARTHA: "Next case: Leo Johnson, parole violation." Tim Pinkle shuffles papers and steps forward. PINKLE: "Tim Pinkle for the Defense, Your Honor. This is clearly a delay tactic by the FBI, who are withholding charges on Mr. Johnson until they can fix their lousy case. Juliette and Leo are both accused of graverobbing. If her bail is 100,000, so should his." COOPER: "Special Agent Dale Cooper, Your Honor. The State of Washington violations demand that Leonard Johnson not see the light of day. His criminal history is legendary. We request remand." JUDGE SID: "Prisoner is remanded to Twin Peaks Sheriff's Department for incarceration. No bail." Gavel pounds. FADE TO: MARTHA: "Next case: Catherine Martell, possession of Government property." NEFF: "Walter Neff, Chief Counsel, Your Honor. As a pillar of Twin Peaks, my client should be-" Gavel pounds. JUDGE SID: "Keep it short, Mr. Neff." NEFF: "Yes, Your Honor. Simple Misdemeanor, time served." JUDGE SID: "No, Mr. Neff. Your client was in possession of top secret Air Force Technology, used in the aforementioned Roundtree third degree murder charge." NEFF: "Request bail." JUDGE SID: "Owing to the extraordinary change of venue by the Air Force, I'm going to set bail at 348,000 dollars, the maximum I can impose, electronic monitoring, and a restraining order against Catherine Martell, forbidding entry to any of her properties until such time as the FBI warrants completion of its investigation. Where is a Major Garland Briggs?" Garland stands in audience. GARLAND: "Major Garland Briggs, United States Air Force Active Duty." JUDGE SID: "Approach." Garland walks to bench. Judge Sid covers microphone, and leans in. Garland leans in. JUDGE SID (whispered): "Major, I hope this little maneuver of the Air Force garners results, because I am not disposed to playing musical chairs with venue." GARLAND (low): "Yes, your Honor. The crimes occurred in Twin Peaks. The Air Force is convinced that a trial set here best serves the Government and people of Washington." JUDGE SID: "So stipulated. You are excused." Garland walks back to audience. JUDGE SID: "Mr. Neff?" NEFF: "No objection." Gavel pounds.

EXT. TWIN PEAKS HIGH SCHOOL - STADIUM AND GREENS - LATER - ESTABLISHING - NIGHT

Mist clings to the wet football field. We see the tall windows of the High School gymnasium, lowly lit, fading from one tone to another . In the center of the field, a helicopter sits silent. The logo on the craft: 'HORNE INDUSTRIES.'

INT. TWIN PEAKS HIGH SCHOOL - GYMNASIUM - NIGHT

Bleachers dark, the only lighting that illuminates long tables is the gymnasium's huge flatscreen, showing high school pictures of Laura fading from one to another. At the tables: Bobby in uniform, Audrey, Mike, Martha, Bear in jail jumpsuit, Lana, Joey, Ronette. Audrey's pilot stands near exit. James and Donna, alone, sitting in bleachers. JAMES: "Shelly's not here." DONNA: "She didn't graduate with us anyway." JAMES: "Her G.E.D. was the same year..." DONNA: "What are you looking at?" JAMES: "Joey ain't starting the meeting." DONNA: "So?" JAMES: "We don't have a lot of time before we see Jacoby. I shouldn't be here anyway. I got to finish work on that Phantom, or Martellcorps will expect a 'deduction' or 'deletion' or whatever Uncle Ed calls it. I knew this contract was going to be a headache. The Hornes were much more pleasant. One Horne in particular." James smiles and gives Donna a peck. She grins. DONNA: "I'm not a Horne, silly billy." JAMES: "You know what I mean." The two turn to Bobby and Joey, as: BOBBY: "No, f*ck you, Chief!" JOEY: "F*ck you." RONETTE: "Boys! Boys! Boys! Stop it! Our entire class is depend-" BOBBY: "That's what Shelly wants, pal!" JOEY: "F*ck this noise! Shelly ain't here, Shelly ain't got a vote!" JAMES: "What the hell is going on?" DONNA: "I don't know." James and Donna join the others at the table. JOEY: "Don't you say a f*cking thing, Hurley!" AUDREY: "Can we just vote so I can get out of here?" MIKE: "Yeah, I got to get to work." MARTHA: "Listen, Robert, the rules are no proxies. That is final. We are going to start voting." Martha records votes on tablet. MARTHA: "If the Double R will not provide the catering, we need to pick another caterer. All in favor of the Great Northern providing catering instead of the Double R, signal with a Yea, all opposed, Nay: Briggs." BOBBY: "Yea." MARTHA: "Grimes. Nay. Hayward." DONNA: "Yea." MARTHA: "Horne." AUDREY: "Yea, already." MARTHA: "Hurley?" JAMES: "Nay." Donna glares at James. MARTHA: "Milford?" LANA: "Nay." MARTHA: "Nelson?" MIKE: "Yea." MARTHA: "Paulson?" JOEY: "Nay!" MARTHA: "Pulaski?" RONETTE: "Laura loved the Double R, Nay." MARTHA: "Renault?" BEAR: "Yepperdoodle." Martha rolls her eyes. BOBBY: "You lose, pal." Joey flips off Bobby. MARTHA: "Bobby, the vote is 5 to 5, if Shelly wants to change it, she'll have to come to the next meeting." Joey storms out. Mike whispers in Bobby's ear: MIKE: "Trouble in paradise." Mike exits with a strange leer at Donna. Audrey adjusts her lipstick with a wand, waving to her pilot in background. RONETTE (to Audrey): "How do you stay so beautiful?" AUDREY: "Hopes and smiles." Audrey stands, her pilot immediately moves forward to carry her umbrella and portfolio, placing a red cloak over her black evening gown. AUDREY: "None of us know what Laura would have wanted in a high school reunion. But one thing's for certain, she would have wanted us to celebrate the good things in her life, not all this 5 to 6 vote sh*t. If we can't agree, we are just perpetuating the darkness that took her." Bobby is wide-eyed, almost watery-eyed. Audrey turns to Bobby, and strokes his face. Wider eyed. AUDREY: "Now, Bobby Briggs, don't you go soft on me." Bobby nods, speechless. Audrey exits. Donna whispers to James. DONNA: "What's wrong with him?" As James doesn't answer her, she turns to him, to see him pained also, staring at Laura on screen. Donna strains to understand. DONNA: "James..." Bear pretends to be emotional, rubs dry tears from his face with hand-cuffed fists, sniffles, grins. Bobby forcibly stands Bear to his feet. BOBBY: "Okay, you. Good thing Harry let you out for this, good thing you voted 'yea,' but now, Bear, my pal, it's Leo time!" Bear loses his grin.

EXT. 'LOCKED GABLE' CONVENIENCE STORE - NIGHT

On a wooded long avenue, the store seems lone with no other buildings in sight. A bedraggled strange store with a high two-storied gabled facade is a drive-through only liquor and convenience store. Through its barred and two-way mirrored encased window, two video screens display specials.

CUT TO BLACK

Strange pixelation into caption, 'PINK SWEAT PRESENTS'

EXT. NEIGHBORHOOD NEAR PALMER HOUSE - NIGHT

We approach the Palmer house on cell phone footage. FLASH to another angle on Palmer House from across street, through windows of opposing home to Palmer House. Caption 'Your neighborhood Watch:' then 'Together, we accomplish everything.' FLASH to cell phone footage from inside Palmer House. Angle turns to Sarah's selfie footage. SARAH: "Turn your cell phones into your security guards. Your Neighborhood Watch. More eyes than you can imagine! Pfft! If I had a nickle for every eye, why, I'd buy me a chandelier!" FLASH to actual security camera angle from Palmer House front door - night. Caption 'Neighborhood Watch #7, directly linked to a dozen nearby Watches. Join us. Keep Twin Peaks Clean.' SARAH (VO): "And I guess you can watch that Pink Sweat to see how it all works, everywhere, all at once."

EXT. CALHOUN MEMORIAL HOSPITAL - EMERGENCY ENTRANCE - LATER - NIGHT

A flashing TPAS ambulance screeches to a halt. Mike exits and rushes to back of ambulance as other personnel exit hospital. Far above, we see a window lit in office section. A shadow in the room passes back and forth.

INT. CALHOUN MEMORIAL HOSPITAL - JACOBY'S OFFICE - NIGHT

Doctor Jacoby paces back and forth, in 'island getaway' furnishings. He compares Heidi's and Nadine's and Ben's cranial MRI results on a monitor. He frowns and turns it off. Jacoby checks his watch, a digital display with a hula girl waving her arms at 10 and 12: 10 o'clock. A tiny coconut revolves around the hour displays with seconds ticking. He places some paperwork in his satchel. JACOBY: "Kookamunga!" Jacoby exits, switching off lights.

EXT. CALHOUN MEMORIAL HOSPITAL - CONCURRENT (CGI)

Far away from the hospital, we see the tiny light go out. Our view pans down the hospital, over its grounds, panning past streets until it points straight down to Easter Park and the gazebo. Our view rotates. The Gazebo spins. Scene still spinning, the gazebo impossibly stops.

EXTS. TWIN PEAKS - MONTAGE STILLS - TRAVELING - NIGHT

As if photographs are being taken. Flash bulb. Inside the gazebo. Flash bulb. Edge of Easter Park. Flash bulb. Easter Park docks. Flash bulb. Lake at Easter Park. Flash bulb. Tributary to lake. Flash bulb. Lower waterfall crashing. Flash bulb. Top of falls cascading. Flash bulb. Docks at Great Northern. Flash bulb. Great Northern window to banquet hall.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Ben's desk is covered with files. No less than 6 laptops open. One displays Ext. Great Northern Helipad. No Helicopter, the red landing lights of the helipad blink. Blinkity blink blink. Blink. We do not see the other laptop screens. Ben sits at his desk, proud of what he sees, his lit cigar at full mast. Jerry squints at some of the screens. BEN: "Video, Jer." JERRY: "Video, Ben. Ben? What are we doing?" BEN: "I'm surprised at you, General. Why, we're waiting out the storm." JERRY: "Canada, Ben?" BEN: "Friends, Jer, Friends. Two friends are better than one." JERRY: "Ben, I think we're in trouble." BEN: "Why's that, Jer?" JERRY: "Office, Ben." BEN: "Office, Jerry."

BEN'S SECRET OFFICE - MOMENTS LATER

Dark room. Door to Secret Office opens. Light floods in. The silhouettes of Ben and Jerry in the doorway. An inch sized slightest red laser passes over all four of their eyes. Room lights up showing civil war memorabilia moved to the side in favor of an architect's model of a 12 sided black obelisk. Ben walks to obelisk, about as tall as Ben, smiling and puffing away. Jerry is fumbling with something in his pocket as he walks, not noticing Ben. JERRY: "I must have left the vichyssoise in my other pocket!" Jerry pulls out a joint, sparks a puff. JERRY: "Ben, what's going on? The FBI wants to know the origin of that Black & White Laurite video, you know, with the dancers around the tree, in plastic, Ben, and white f*cking sheets, Ben!?" BEN: "Jerry, why can't we have horses around the tower?" JERRY: "I asked you first." BEN: "We are cooperating, Jerry. The FBI will receive the film and interpret its own answer. An old enemy once taught us both about the value of two sets of books. Now, imagine, Jerry, perhaps an infinite number of books. Possibilities. You know where it came from. I know where it came from. No one else in Pink Sweat knows. Therefore, the FBI will uncover its origin." JERRY: "Wake up, Ben! They want to know why, in this particular instance, why Pink Sweat seems to be encouraging quote unquote the desecration of Laura Palmer's memory. And those f*cking Montana Palmers! It makes it look like one, we were already guilty before her grave was robbed. And two, that we may have done it to boost Pink Sweat traffic. That's what Catherine's already claiming." BEN: "Hmm." Jerry takes another hit. Ben is now chewing on his cigar. JERRY: "Oh, and to answer your question, money. Money, Ben, money. We are in some serious trouble here. The Observatory is barely above water. Catherine has seen to it that Horne's Department Store will be sinking within a year, I'm sure the Renaults will be instrumental in flooding One Eyed Jacks with every injunction under the sun, oh, and the Sarah Palmer settlement will continue, now flowing to the foundation, now in perpetuity. That leaves us Pink Sweat, Green Horne, Hornes of Fire, and the Great Northern, Ben. Queen of the Hive and the Queen of Hives?" BEN: "Starring the Voice Over talents of ... Jerry, it doesn't matter." JERRY: "Until we're running from the Mounties." BEN: "A horse, twelve horses, my kingdom for twelve horses."

FADE TO BLACK

In the blackness, Captions, scrolling, in spectacularly refracting dark galactic mirrors: TWIN PEAKS incident...' 'WINK TAPES searching...' 'PINK SWEAT archive...' 'HORNE OBSERVATORY accessed...' 'AIR FORCE crosslink...' 'PROJECT SAPPHIRE enabled...' 'PROTOCOL 12-13-14'

INT. SAM'S HUB - NIGHT

Entire scene edging into bluetone, gradually getting bluer until entire scene is bluetone. Helicopter sound barely audible in background. Cooper looks at 'DNA Analysis' report. COOPER: "Yes, Sam, Doctor Hayward said the hair on Leland's side of the family changes color under stress. Leland's hair turning white, Madeleine Ferguson's hair differing from Laura's, who we now know to be her identical twin. Incredulous. But the wholesale change of DNA in our sample? Impossible, Sam." Helicopter louder. SAM: "Well, you heard Gordon. This change seems like another one of these bizarre miracles." COOPER: "Miracles are performed for good. This is obfuscation. This is deceit. This has the tincture of evil." SAM: "Both samples are identified." COOPER: "Who?" SAM: "By the mitochondrial DNA, it can only belong to..." SAM dons a Protocol 12-13-14 silver envelope, which seals around his head. Cooper likewise. POV COOPER. We see the silver-headed Sam clicking on a computer. SAM(VO): "Robert B. Palmer, paternal grandfather of Leland and Daniel Palmer." END POV. Cooper drags the envelope off, his normally immaculate hair disheveled and wonky. Cooper stares into the strange equipment of Sam's Hub, unbelieving. Sam removes his envelope, not noticing Cooper's blankness as Sam dons his trench coat and loads his briefcase: SAM: "On a side note. The batteries in your recorder, Agent Cooper, the one with you all those years in the Black Lodge, test as indeed 25 years old. Consistent with brand of said era. But still hold a charge. Even now. Scientifically impossible, without exposure or tampering, or somehow recharging, though these are not, repeat, not rechargeable batteries. Just something to think about. Goodnight, Agent Cooper. Please don't forget to seal the Hub." Sam exits. COOPER (to no one): "Engage protocol, Cooper 12." Monitors begin to shut off, lighting dims. Cooper stands tall in the dark bluetone room.

INT. EON - CONTINUOUS (CGI)

Entire scene edging from bluetone, gradually gaining full color until entire scene is normal. Garland stands in front of a man-sized video screen, 4 by 7 feet tall, looking like a mirror, showing Garland in his Major General uniform, attaching a new ribbon to his ribbon cluster. Garland regards himself, an approving small smile. Garland winces in pain. GARLAND (to no one): "Unusual." Garland exhales, and turns to the Monkey, strapped in peculiar medical chair. He moves to monkey, uncaps a syringe and injects the contents into an IV push. Monkey looks around. GARLAND: "No, he's not here yet." Garland turns back to screen. GARLAND (to screen): "Fractal encryption, link to Agent Dale Cooper." The large screen now shows a image of Cooper (INT. SAM'S _dark_ HUB), standing tall. GARLAND: "He's ready, Agent Cooper." COOPER (VO): "Go ahead, Major." GARLAND: "By my calculations, he-" MONKEY: "Judy. Judy. Judy." COOPER (VO): "Fascinating! Just like Waldo. Major, is this just a performing monkey, or do you have concrete and empirical data as to its cause?" GARLAND: "Betty has coordinated files from the Lydecker clinic. There seems to be spikes in animal injuries before or after strange events in Twin Peaks." COOPER: "That is not concrete, Major." GARLAND: "Yes, sir, point taken. Science is not exact. However, Agent Cooper, before the attempt on J. Swain's life, our friend here only said that word once. Now, our friend only says the word three times. Always three times. Like the messages." Cooper seems distracted. COOPER: "Yes. Cooper, Cooper, Cooper, Laura, Laura, Laura." MONKEY: "Judy, Judy, Judy." COOPER: "Do you believe it to be the fourth message?" Garland smiles. GARLAND: "No sir, we have not received the fourth message." COOPER: "Who is We?" GARLAND: "Myself and the Air Force, we. In fact, the impetus for the Monkey speaking can be incited by irritation to other animals." COOPER: "Speak plainly, Major." GARLAND: "Betty has a device, that when activated, specifically causes sonic irritation or pain to owls. When she has used this device, and under control conditions and injection with acetylcholine, the monkey speaks." COOPER: "I do not think we are going to solve this conundrum without help from the White Lodge. Nor will we solve it with blind guesses, Major." Garland considers, pondering, looking down. GARLAND: "You seem petulant this evening, Agent Cooper." When he looks up, Cooper is gone and replaced with the mirror image of Garland. GARLANDMIRROR: "The White Lodge."

INT. WHITE LODGE (CGI)

Four white marble vine encrusted thrones in woodland clearing, on each throne sits the Giant, not doppelgangers with white eyes, but four duplicates, quadruplicates. Their arms rest on the arms of thrones, their hands grasping the end of the thrones. EAST GIANT: "One." SOUTH GIANT: "And." WEST GIANT: "The." NORTH GIANT: "Same."

INT. SHERIFF'S STATION - CONFERENCE ROOM & HALL - NIGHT

Cooper enters. On the table, Albert stares at three rolls of Finley's Fine Twine, all in evidence bags. Next to each bag is a stack of 3 donuts each. Seeing this, Cooper snaps his fingers. COOPER: "Lucy." ALBERT: "Ya think? How many people knew about Finley's Fine Twine?" COOPER: "Leo Johnson. Jacques Renault. Sheriff Harry Truman. Lucy Brennan. Perhaps Waldo. Agents Cooper, Rosenfield, Cole-" ALBERT: "Agents, aside. Put on the thing." COOPER: "And Laura..." Cooper looks at Albert blankly. He opens a folder to two new silver foil envelopes, 'FBI protocol 12-13-14.' They put them on their heads, bags seal. ALBERT (VO): "You, me, Sam, and Gordon are the only ones who know about 'Rosie's Red Rope.' An image appears on Albert's video screen of a 3-strand white rope, with a thread of red down each strand. On the new package, the product boasts, 'See frays easier.' COOPER (VO): "The other rope used to bind Laura Palmer. The brand Leland Palmer used. No one on Earth knows this, Albert. Remember, no one." ALBERT(VO): "Got it." Knock on door. ALBERT (VO): "Enter." Hawk enters. HAWK: "Agent Cooper, Agent Rosenfield. Taking the Missus up lake to the cabin. So I'm going to knock off early. Much preparation." COOPER (VO): "Hawk, may your journey be fruitful and your path be unencumbered." HAWK: "Yes, Agent Cooper." COOPER(VO): "How's Harry?" HAWK: "He's home resting. Oh, and Agent Rosenfield." ALBERT(VO): "Yes?" HAWK: "Raven says you would look better in gold. She said you would know what it meant." ALBERT(VO): "Have fun in the woods." Hawk exits. COOPER: "Albert, you're about to dream. Please be careful." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER: "Albert, I have to be somewhere. Sparkwood and 21." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER (Filtered, Distortion): "It's happening again, Sam, please stand by." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER: "Albert, good night, sleep soundly and awake refreshed as every one of these majestic douglas firs!" Hawk enters. HAWK: "You wanted to see me, Agent Cooper?" ALBERT: "Wait, what!?"

S3:E14: ACT THREE

EXT. SPARKWOOD AVENUE - NIGHT

James and Donna speed by on hog, passing an old street sign near dirt road. Sign reads 'Sparkwood' and 'Old Mill Road.' As we pan across street, we see the dark gable of the Locked Gable convenience store, the only light: a red neon sign, flickering, 'closed.' Flick. Flickity flick flick. Flick.

EXT. WOODS AND SPARKWOOD & 21 - NIGHT

A new intersection sign, a freshly painted Sparkwood & 21 sturdy metal sign, shows small captions 'Keep Twin Peaks Clean' under Sparkwood Avenue and under Route 21. Seven hanging stop lights. Mist in chaotic periods of clarity chased by wafting fog and foglets. The middle stoplight turns from yellow to red. Well hidden in the nearby woods, we see Hawk dressed in camouflage with electronic binoculars, far back from the stop-light-only lit intersection . He lifts the binoculars. POV HAWK. Through enhanced IR zooming, Hawk watches Donna and James arrive, dismount, Donna immediately going to one of James saddlebags. James stands by bike. Doctor Jacoby exits his dayglow green 1994 Dodge Charger, with flamethrower 'flames' made of tiny to large gear-like Hawaiian flowers of every conceivable phosphorescent hue, size, and brightness. Jacoby saunters up slowly, smiling big. END HAWK POV. DOC JACOBY: "James Hurley, Donna Hurley-to-be, congratulations." They beam. DOC JACOBY: "What wondrous times as these, oh, but what strange times as these?" Doctor Jacoby breathes in deep, smiles, dons his red-blue sunglasses, removes his name tag and pockets it. JACOBY: "This is where you both saw Laura. If you are planning to trick me again with one of the Flying Eagle Laura-twins-" James looks around. JAMES: "Nothing like that, Jacoby." JACOBY: "So let's cut the bullsh*t, you know what I want, and then you'll get what you want." JAMES: "Okay." JACOBY: "Donna?" DONNA: "Okay." JACOBY: "Maika'i! You will both answer honestly, like you are in a deep sleep. This is a comforting space. Tto discover the source of your pain, Donna, you must rise like a cloud above it. Through it. Beyond it." DONNA: "She's here." JACOBY: "Do you see her?" James looks around. DONNA: "I can feel her in my arm now." Donna winces. JACOBY: "Ask her, ask Laura what she wants, Donna." POV SIXTH PERSON. This person watches both in far distance, Hawk, and at near distance, Cooper. Both face Jacoby et al. Cooper's clear plastic rain slicker is speckled in condensation. POV COOPER. We see Hawk adjust his binoculars. POV HAWK. We see Hawk zoom to Donna as she brings her hands in the Laura 'vase' pose. END POVS. Donna puts her lower hand under her elbow, keeping it in replica pose to Laura's. JACOBY: "Are you tricking me, Donna?" James grabs Donna. She blinks. JAMES: (to Jacoby) "Enough of this! Tell us about Heidi!" Jacoby put's his name tag back on. DOC JACOBY: "What's to tell, she's in a coma, even as we speak." Donna lowers her pose. DONNA: "Okay, so answer this, since when do 3 people go into a coma at the same time?" DOC JACOBY: "Horne's was mere trauma-induced temporary concussive unconsciousness, I think. Nadine had numerous contusions, she probably hit her head, though no cranial contusions...it just happened to coincide. She did have brain swelling. Who knows with Nadine, eh? Also delusional. And as for the Widow Vogel, burst blood vessel, end of story." James points accusingly. JAMES: "Now who's bullsh*tting here!?" DONNA: "Doctor Jacoby, if we are going to help each other, you have to tell us more." DOC JACOBY: "There is one other thing, then. But you are going to tell me one more thing if I tell you, Miss Donna Hayward." DONNA: "We're friends." Jacoby smiles. All stop lights flash red all directions. DOC JACOBY: "Comas are caused by different events: toxins, trauma, seizures, stroke, and in each case, we have telltale indications in heart activity: heart attack, infarction, arrhythmia, palpitations, the gamut. But our three friends who went skipping off to la-la land, en masse, all had a similar mild heart rate, matching none of what should happen during any of their cerebral events." Donna looks horrified. JAMES: "What's that mean, Doctor?" Jacoby puts his arm around James. Donna looks at a reflected-red-blinking drifting puff. DOC JACOBY: "What it means, James, is that something is linked in these events, and I think the FBI knows too." JAMES: "No way, it just happened." JACOBY: "Something happened that day, didn't it Donna? Your arm hurt. You were at that table with Judy. What does your arm mean, Donna?" DONNA: "...creamed corn..." A gust of wind. The three bundle against the night air. DONNA: "...garmonbozia..." JAMES: "What?" JACOBY: "I told you, I don't know why Heidi yelled that." DONNA: "...pain and suffering.." JAMES: "What's garzonzozia?" Donna doesn't answer, but stares up and into trees. JAMES: "Is she hypnotized, Doctor?" JACOBY: "No. Is she channeling, James?" James looks to Donna's gaze. Only the undulating douglas firs, spattering condensed fog droplets. POV HAWK. The binoculars look into the trees. POV UNKNOWN WATCHING HAWK. A person watches Hawk in the distance, from behind, and James, Donna, Jacoby and their vehicles in far background. Jacobi and Donna and James and Hawk at Sparkwood and 21. Repeat scene as POV UNKNOWN. From in the woods, we see a digital camera view, but moving as the eye moves. It zooms past Hawk, to Donna and James and Jacoby. Then their vehicles and license plates in far distance. DOWN ROAD at Sparkwood & 22's nearby train tracks, a locomotive begins passing. END POVS. JACOBY: "Good. Now cut the sh*t, Hayward, why the charade?" DONNA: "We want to know about Heidi." JACOBY: "Where did you hear that word: garmonbozia?" DONNA: "Creamed corn." JACOBY: "Is it a recipe? This pain, this vegetable, this guilt about Laura. Is Laura hurting you because you've again taken her true love as your lover? Or does it come to you because both of you harbor some terrible secret about Laura? 25 years you've kept that secret, even when you two were apart." JAMES: "We don't have any Laura secrets." JACOBY: "Think. Secrets are always the source of pain. Perhaps that is what Laura is trying to teach you." DONNA (feigning Laura): "Bobby killed a guy. You want to see?" James shocked speechless. JACOBY: "Yes, Donna, stay where you are, is this you and James' terrible secret?" Donna nods. James agape, shaking his head. We see inside James' hog's saddle bag: A small picnic basket, a large thermos. JACOBY: "What happened back then, Donna, twenty-five years ago?" Donna is silent, but wanders to saddlebag thermos of coffee, drinks as Jacoby has looked up to the douglas fir undulations and waves of mist and darkness and flashing red stop lights to: POV JACOBY. Donna and James on edges of shot as Jacoby sees a form of Laura as the barest semblance of her face appears where rolling fir needles overlap, forming a lattice of a cross-needled cross-stitch almost fabric-like green face of red-flash-lit 'Laurawoods.' His concentration is broken and Laurawoods is no more. END POV. JAMES: "What's he staring at? Do you see Laura, Donna?" DONNA: "No." JAMES: "We don't see her, Doctor Jacoby." Jacoby: "I did. It was her, but not her, in the tapestry of the trees." Train finishes passing. All stop lights at Sparkwood & 21 revert from flashing red to normal operations. Elsewhere in woods, Cooper walks up to a surprised Cappy. COOPER: "Your covert skills need work, Deputy." CAPPY: "Yes, sir. Only trying to help James." Cappy gives Bookhouse Boys sign. Cooper gives Bookhouse Boys sign. COOPER: "A mark of any good law enforcement officer is to never give aid and comfort to any person or action deemed participating in wrongdoing." CAPPY: "Yes, sir. That'll never be a problem for me. ... Where is Chief Hawk?" COOPER: "I'm afraid he has faded into the woods." Helicopter chopping sound in background.

INT. SHERIFF'S STATION - CONFERENCE ROOM - NIGHT (CGI)

Placide Renault sits shackled to her wheelchair. The opposing table has arrayed: Sam, Albert, Diane, Gordon's smiling face on lap top, Lil, Raven, Andy, Lucy. HARRY: "Just what are you offering, Maman Renault?" PLACIDE: "I'm dead before you convict me, I'll turn on 'em all, you see. Except my Juliette. I know she turned on me, but I won't turn on her." ALBERT: "Who is 'em all?'" PLACIDE: "I got me enough dirt on 7 Hornes, I got worse on the lone Martell." ALBERT: "Specifics, or its back to 'dead before.'" GORDON (VO): "Hold on, Albert. Hello, Maman Renault! A pleasure. My name is Chief Gordon Cole." PLACIDE: "I feel like I've seen you long ago, but sometimes my memory plays tricks with me." GORDON (VO): "I seem to have deja vu in parallels of pies, but sometimes my perpendiculars get all whip creamed." PLACIDE: "The Double R." GORDON: "The Double R!" PLACIDE: "I got dirt on those Hurleys, too. But that's a secret. Just like them Palmers, hmm? Like them Haywards, they all mixed up together! I'll offer you a piece of the pie."

EXT. TWIN PEAKS - HELICOPTER CAMERA - NIGHT

Flying over the Great Northern and waterfall, the loud thwapping of the helicopter annihilates the clinging mist in vortices of swirling dust devils.

INT. GREAT NORTHERN - MAIN ENTRANCE GRAND FOYER - MOMENTS LATER - NIGHT

Caption: 'Midnight, March 9.' Helicopter sound fades in background. Audrey enters smiling, going to front desk. Julie smiles awkwardly. AUDREY: "Has Agent Cooper returned?" JULIE: "No, Miss Horne." AUDREY: "You know what to do." Julie frowns, looks down, nods. AUDREY: "Listen, Julie, I could just as easily watch the cameras. But this way, nobobby, I mean nobody is the wiser, no one gets hurt, everyone's happy. Just order the sandwich." JULIE: "Yes Miss Horne." Strobe flash - LATER. SAME ANGLE. Audrey gone, desk now with new vase of flowers. Cooper enters, goes to counter. Julie smiles, glances to digital clock on wall (1:30) turns to keycard and room mail boxes. She withdraws several envelopes and memory stick from box 315. JULIE: "Your messages." She hands the items to Cooper. COOPER: "Good evening, Julie! And my! The douglas firs are fragrant! Do you think the fact they are soaked in this fog makes them do that!?" Julie is all kinds of nervous. JULIE: "Yes, perhaps, excuse me." Julie picks up house phone, dials. JULIE: "Room service, elite, please. ... Room Service? This is the Head Concierge, order for Miss Horne. This is your 1:30 reminder..." Cooper notes time on watch, clock, and Julie's computer, showing '1:30 ELITE. Miss Audrey Horne. Roast Beef Sandwich, dry. Pickle ribbon on side. Champaign martini, wet, kalamata.' JULIE: "Roast Beef Sandwich, dry. Pickle ribbon side. Champaign martini, neat, kalamata." Cooper smiles and slowly strolls to elevator, in the corner of his eye, Julie daubing her perspiration. Cooper arrives at elevator the instant a rushing Bellhop screeches to halt at same elevator, precariously balancing a tray, and rushing a champaign cart with bucket ice and bottle. Perspired, he smiles at Cooper. On his silver platter: Sandwich under glass, pickle in sandwich. Bowl of cocktail-skewered brown olives. A slice of cherry pie. Cooper and Bellhop enter INT. ELEVATOR. Cooper presses 3. Bellhop presses P. Cooper is inspecting the tray and the Bellhop, who continues to perspire. Elevator floor indicator moves G to 2. Bellhop swallows. 2 to 3. Bellhop breathes. Door opens. Cooper stands. Door closes. Bellhop casts his eyes downward. 3 to 4. Bellhop prepares to exit. 4 to P. The elevator opens to INT. PENTHOUSE - SECURITY. The sweaty bellhop is waved to elevator-like doors that open to lavish penthouse overlooking the fog choked environs below the Great Northern. Cooper looks at two Security guards. COOPER: "You gentlemen have licenses to carry concealed weapons?" The two thuggish men look to each other, open their vests to reveal their holstered guns and inner vests showing 'Permit' and gold stamped license. Cooper thumbs up. COOPER: "Aces, gentlemen." They close their jackets and offer a hand of entrance to the suite. Cooper enters, seeing bellhop finish, a crisp $100 bill being handed to him by Audrey's hand, only her hand and arm visible from around corner. As Cooper approaches, the bellhop gives a forced smile as he passes Cooper. Cooper rounds corner to see Audrey in a dazzling red and black evening gown bejewelled in sparkling garnets. AUDREY: "Do you like it, Agent Cooper?" Audrey brushes a hand down the shoulder strap of her ensemble, stopping at her green rose corsage. COOPER: "The gown is lovely, Miss Horne." Audrey stands, displaying, twinkling, and moves to the champaign bucket and removes the bottle. COOPER: "This is not a social visit, Miss Horne." AUDREY: "I wouldn't dream of it, Agent Cooper." Pop! Audrey kisses the foam pouring from the bottle. Audrey pours the champaign in two glasses. She brushes an olive in one, and eats the dripping olive. She offers Cooper the other glass. He stands. COOPER: "Why am I here, Miss Horne?" Audrey hides a smirk. AUDREY: "I had a dream, Agent Cooper." COOPER: "You know I know when you are lying, Miss Horne." AUDREY: "Try me." COOPER: "Tell me your dream, Audrey. Do not embellish any portion of it." INSERT AUDREY'S DESCRIPTION of INT. SHERIFF'S STATION - VEHICLE GARAGE - NIGHT (CGI). AUDREY (VO): "Squeezed in between the cruisers, we are all seated at a single banquet table, like when you interviewed half the town. Agent Cooper, you are standing before our table where we are all seated around that freaky myna bird, in its cage where it belongs. To my left are Bobby, His Dad, Margaret, her Log in its own chair, Sarah, Donna, Your Boss, Andy, Lucy, Annie, and Judy to my right. You say, 'This is _not_ an exercise of the FBI.' Then crazy Annabelle Blackburn says that thing she says all the time up at Johnny's Home, that 'Light, walk with me!'" Single strobe flash to:

INT. DOUGLAS FIR ROOM (CGI)

The room of carved wooden furniture seems to tremble, then lurch. It catches Margaret, Josie, Harry, Pete, and the Lantern Man off guard, making them grab onto whatever is near them. The Lantern Man holds Margaret. Harry holds Josie. HARRY: "What's happening, Josie?" JOSIE: "Oh, Harry, this is goodbye." PANNING back from room, to it's very edge, we pass through the translucent walls of the Douglas Fir Room to See that it is but one slice of branches of the Giant, whose fingers grow into snakelike branches of ever skyward douglas firs re-branching. Budding, flowering, fruiting into berries.

Odd berries.

INT. GREY LODGE - BLACK & WHITE (CGI)

Lighting strange. Four Black Lodge Chairs, before curtains stretching to the sky, in far distance, circular marble walls, vine entangled. Centenarians Cooper, Waiter, Placide, Audrey sit in circle. The three lower their points. Audrey smiles, bites her lip. Audrey's 'real' head seems to shrink back from the 'makeup shell' of Centenarian Audrey, growing younger, slightly smaller, and more distant, as we watch through AUDREYSHELL'S eyeholes, the ever younger Audrey grows farther and younger away until barely a dot, the embryonic Audrey flashes into a green ember of light, in orbits around the inner skull of Centenarian Audreyshell. Centenarian Tremond enters. She sits on Audreyshell and crushes it. Crushed shell fades away. TREMOND: (backwards speak): "I specifically requested no creamed corn!" Creamed corn begins to leak out of the now bloody pustulating and popping forehead of Tremond. TREMOND (backwards speak): "My grandson is pure magic!" Cooper, Placide, and the Waiter lift their points to Tremond. POINTERS: "The Once Dead Woman."


	15. I couldn't get my Car Started

(First Edit 8-9-18)

TWIN PEAKS: EPISODE 15: "I COULDN'T GET MY CAR STARTED"

S3:E15: TEASER

EXT. SHERIFF'S STATION - FRONT STEPS - EARLY MORNING

From the cement steps we see up to the building's sign 'TWIN PEAKS SHERIFF'S DEPARTMENT'. On the steps, a wad of discarded chewing gum.

INT. SHERIFF'S STATION - HARRY'S OFFICE - CONTINUOUS

Cooper stands with Albert, watching the front entrance security camera (unoccupied steps to station) on a monitor. ALBERT: "I cannot believe Gordon agreed to this." COOPER: "Without chemicals, he points. Phillip Michael Gerard, the One Armed Man. 25 years ago, he pointed to Leland Palmer and Bob. Three days ago, he pointed to four inside the circle. Albert, I intend to find out if any of our detainees are inhabited by Bob or any other malevolent entity." Cooper smiles, seeing Donna on monitor at front doors. Cooper exits. Albert shakes his head and offers up a hand in disbelief.

INT. RECEPTION - CONTINUOUS

Donna sets her drink down on Lucy's counter, signs in, smiling at Lucy. LUCY: "Mrs. Hurley ... just trying it out." Donna beams and flashes her engagement ring. As Lucy gleams, observing the gleaming ring, we observe the styrofoam cup of to-go coffee labeled, 'Locked Gable' 'Always Open' 'Unique Flavor' 'Roasted Locally' 'Always Perfect'. COOPER: "How are you, Donna?" Donna startles, grins. DONNA: "James and I are getting married on Saturday!" COOPER: "Congratulations, Miss Hayward." DONNA: "Sarah gave me her wedding dress." Cooper's expression changes. COOPER: "What color is it!?" Donna drops her jaw and slaps Cooper. LUCY: "Oh!" Cooper surprised. COOPER: "Miss Hayward, I apologize, I meant no-" DONNA: "White." COOPER: "You see, Donna, I've had dreams of women in wedding dresses!" Cooper beams. Donna considers, then melts. DONNA: "Oh, Agent Cooper, I'm-" Albert and Bobby burst into reception. Cooper raises his salute. COOPER: "It's alright, Albert, just a misun-" ALBERT: "Briggs, arrest our slap-happy damsel on the charge of assaulting a Federal Officer!" Bobby frowns, motions for Donna to turn around. BOBBY: "Okay, Donna, let's do what the nice man asks." Donna turns. Cooper 'blinks' his salute again. COOPER: "Albert, I do not prefer charges." Bobby cuffs Donna. BOBBY (in her ear): "You, Donna, Madonna, have the right to remain silent..." ALBERT: "Cooper, stand down." Cooper lowers his salute. COOPER: "Yes, sir." ALBERT: "Do you require medical attention?" COOPER: "No, sir." BOBBY: "...one will be provided for you." A tear runs down Donna's cheek. She looks to Cooper. COOPER: "Donna, you will be fine." Cooper winks. Donna is escorted down hallway toward Cellblock. Cooper turns to Albert, opening his mouth. ALBERT: "Coop, my decision is final." Albert and Cooper head back to Harry's Office.

INT. WAITING ROOM - CONTINUOUS

Garland lowers the Twin Peaks Gazette he is reading. He stares across the paper, just above the paper's captions: 'Wednesday, March 9, 2016'. As Donna is taken down hallway to holding, Gerard and Jacoby enter through front doors. Garland stands.

INT. HARRY'S OFFICE - CONTINUOUS

Albert and Cooper enter. Albert presses a button to see reception on monitor and Gerard and Jacoby signing in. Cooper closes the door. As Cooper opens his mouth: ALBERT: "Final, Coop." Albert motions toward Gerard on camera. ALBERT: "How's this supposed to work, Coop?" COOPER: "Each detainee will be shown to the interrogation room separately. There, Phillip Michael Gerard will observe them from behind the two-way mirror. I have asked Major Garland Briggs to administer a memory destabilizer to Doctor Lawrence Jacoby, who must also attend. Unfortunately, Albert, Roger will also be observing."

INT. CELLBLOCK - CONTINUOUS

Donna is placed in the cell nearest the cellblock door, uncuffed. The guard locks the door and exits cellblock. Through her blurry eyes, Donna stares down the cellblock to see Catherine, Bear, Placide, Juliette, and Leo. And Hawk outside Catherine's cell. Hawk is cuffing Catherine through bars. He then unlocks her cell. CATHERINE: "I posted bail. Is this really necessary, Officer Flying Hawk!?" HAWK: "Deputy Chief Hill." CATHERINE: "I DON'T LIKE YOU!" HAWK: "You don't have to like me, just follow orders." CATHERINE: "Hmpf!" Hawk escorts Catherine past others to Donna and door. As guard unlocks door, Donna sheds more tears. Hawk looks to Donna. HAWK: "Donna: strength of a bear, cunning of a cougar, vision of an eagle." Donna smiles. She and Hawk look down to see her holding her left arm. Hawk nods, they exit. Donna gives one weeping gasp and straightens up, bites her lip, sets her jaw, and stares down to: Juliette with head slung and hump held high, Bear staring into the cell's steel mirror, Placide patiently waiting at the edge of her bunk near a wheel chair set next to it, and Leo Johnson in the far cell, smiling, staring right at her, flexing his arms and pecs.

INTS. INTERROGATION & INTERROGATION OBSERVATION - CONTINUOUS (CGI)

In dark Interrogation Observation: Cooper, Albert, and Roger stand. Gerard sits with ankle bracelet on, in front of a glass window showing Interrogation. In the back of the room, Garland and Sam stare into laptops. Standing to the left of Gerard, Cooper pats the shoulder of Gerard's missing left arm. The skin stub of Gerard's left arm amputation pokes through his T-shirt, emblazoned 'TPA' on his back. We now see Jacoby, who has a glassy-eyed stare, in another dark corner of the room. Jacoby's glassy eyes stare through Major Briggs' strange goggles that fit all the way around his head, ears and eyes. The articulating focusing lenses of microcameras retract, strange medical mirrors, one huge lens around one eye infrared, the other black then clear then infrared then ultraviolet, then upside down, mirrored, superzoomed then microzoomed, all sorts of those combinations, resting on a cool blue. In front of Jacoby, a straight jacket. Cooper looks back to Garland. COOPER: "You are sure he's hypnotized, Major?" Both Garland and Sam nod. GARLAND: "Most assuredly, Agent Cooper." Cooper looks down to Gerard. COOPER: "Phillip, are you ready?" GERARD THE ONE ARMED MAN: "Ready as I'll ever be! This is how we catch Bob!" COOPER: "Can you hear me, Doctor Jacoby?" Cooper turns. Jacoby stares. COOPER: "Aces! Gentlemen, this device, provided by Major Briggs and the United States Air Force, allows us to manipulate what Doctor Lawrence Jacoby sees and hears. This process, to which all parties have agreed, is designed to assist with an official experiment of the F-" GERARD THE ONE ARMED MAN: "He's here!" Catherine is escorted into Interrogation by Hawk. HAWK (filtered): "Wait here until your release." Hawk seats her, uncuffs her and exits. Catherine stands, rubs her wrists. COOPER: "Who's here, Phillip?" GERARD THE ONE ARMED MAN: "My name is Mike. His name is Bob. Bob is not here. One of the devilish ones is here." ALBERT: "Give me a name, Phillip." GERARD THE ONE ARMED MAN (heavy filter, backwards speak): "I'm in the Black Lodge. I am the thirteenth King. I do not know who is this Annie. Where is my wedding dress? I killed her first." Perspired, Gerard looks up to Cooper. COOPER: "Windom Earle." Cooper nods to Albert, who clicks his blackberry. Hawk enters Interrogation. HAWK (filtered): "Catherine Martell, you are free to go, under stipulation of court ordered bail proceedings." Cooper stares, lost in an abject frown as Catherine is removed and Juliette is seated, remaining cuffed. Juliette is frightful disheveled, eyes swollen red, lips desert parched. Sitting in chair with her head hung low, she doesn't move. The ill-fitting TPSD orange jumpsuit she wears reveals more of her neck and back deformity. Gerard points to Juliette. GERARD THE ONE ARMED MAN: "The One Sided Woman." Cooper nods. GERARD THE ONE ARMED MAN: "I am not in the One Sided Woman. I am in the One Eyed Lady, and there, I'm seated with the Log Lady and her beau, the other woodsman. The first thing I saw was plastic. I'm really just a pawn. Black Lake fish drain into the Snake River." Cooper is perplexed. COOPER: "Who are you?" GERARD THE ONE ARMED MAN (backwards speak): "I am now in the two-faced woman. My Grandmother's magician is my grandson's greatest joy. Hospital Food. Picture my room in a room full of pictures of rooms. J'ai une âme solitaire." COOPER: "Harold Smith?" GERARD THE ONE ARMED MAN: "No, but he is known to us. Best ask Sheriff Truman and the one with the dress." Gerard stares, silent, dripping. Albert clicks blackberry, Hawk enters Interrogation. HAWK (filtered): "Juliette Renault, you have not posted bail, and must continue incarceration until trial." Hawk stands Juliette. JULIETTE (filtered): "Maman?" Hawk brushes tangles from Juliette's face, smiling. HAWK (filtered): "Maman Renault has posted bail, Juliette. You did it." Juliette nods, a broken smile as she is escorted out as Andy escorts in Bear, cuffed. Juliette jerks her face from Bear in disgust. GERARD THE ONE ARMED MAN: "There is no Dweller of the Lodge in her. But they want in fiercely! The One Sided Woman is strong." Bear makes goofy and strange faces in the mirror of the interrogation room. GERARD THE ONE ARMED MAN: "Oh, but this one is like his kind. There is no friend here, either." Hawk enters Interrogation. HAWK (filtered): " _Albert_ Renault, you have not posted bail, and must continue incarceration until trial." Bear sticks his tongue out at mirror and is escorted out by Hawk. Andy wheels in Placide. Bear and Placide exchange a simultaneous nod and smile. Andy uncuffs Placide. She pats Andy's hand. PLACIDE (filtered): "Thank you, sweetie." Andy smiles awkwardly. ANDY (filtered): "Maman Renault, just a few more minutes." Andy exits, Placide following him with her eyes and smile. GERARD THE ONE ARMED MAN: "I cannot see the Pie Lady. She is going away..." Gerard stares. Gerard's lip quivers almost as if speaking. COOPER: "Phillip?" Placide wrings her hands in her lap nervously. GERARD THE ONE ARMED MAN: "Her servant will bring her coffee, milk, and pie!" Gerard violently shakes his head no, ala Annie's outrageous shakes. Cooper waives to Albert. Hawk enters Interrogation. HAWK (filtered): "Placide Renault, you are free to go, under stipulation of court ordered bail proceedings." Hawk wheels out Placide as Andy escorts in Leo, shackled wrist and ankle. Placide sneers at Leo. PLACIDE: "You're f*cked!" Leo shows his teeth. Andy seats Leo and exits. Leo stares into the mirror at the interrogators, and 'Mike'. GERARD THE ONE ARMED MAN: "No! No! Bob is not here! Oh, but he has been here! I see you Bob, and I know your stink! You can hear me through this one! Your days are numbered, Bob!" Leo is escorted out. Cooper holds out his hand ala Laura in the Black Lodge. He snaps his fingers. Jacoby seems to wake up, remove his goggles. Smiling, he puts on his red-blue sunglasses. JACOBY: "How did it go, Agent Cooper!?" Gerard is a sweaty, sobbing mess. COOPER: "Attend to your patient, Doctor Jacoby." Cooper comforts Gerard's armless shoulder. As Garland and Sam stand, and Jacoby administers a shot to Gerard, Cooper moves to Sam, Garland, and Roger. Door to Observation opens, showing Harry. He helps escort Gerard and Jacoby out.

INT. HALLWAY - CONTINUOUS

Far down the hallway: cuffed Leo escorted by Hawk. Leo spins, slobbering and contorting his face into a feral toothy chomp at Gerard down the hall, wild eyed and rabid. LEO: "Rrorrr r rrwrrrrl!" Hawk has Leo on the floor as he growls and chomps at Gerard.

With Gerard, Jacoby, and Harry. Harry draws gun. Gerard clutches his chest and wilts. HARRY: "Phillip! Phillip!" Jacobi grabs Gerard's neck for pulse.

INT. WHICH-WAY LODGE (CGI)

Phillip Jeffries, white suit, floating in black background. PHILLIP (simulwards speak): "You know I'm coming back, Judy!" Judy, black dress, lofting, white background. JUDY (simulwards speak): "Kitty-cornered." PHILLIP (backwards speak): "Caddywompus!" JUDY (backwards speak): "Helter skeletered?" PHILLIP: "Upside down backwards." Judy chokes back a laugh. Snickers. PHILLIP: "That's my Judy alright." The One Armed Man floats in between them, inside a floating tumbling cubical 12x12x12 grid cage. The cage's tubular bars, polished to a mirror, reflect Phillip and Judy, and the backgrounds. Gerard holds the bars of his cell. GERARD THE ONE ARMED MAN: "Why am I here? Bob is not here. But many are here. Fire spreads. Smoke hides. Darkness falls. Evil reigns." Judy snorts, then giggles. PHILLIP (upside down speak): "Now, Judy, don't you get another bee in your bonnet." Judy chokes back a giggle, smiling devious and embarrassed. JUDY (upside down speak): "Bzzzzz! Bzzt! Bzz. Bz. Bzz. Bzzz. Bzzzzzzzzzzzzzz!" GERARD THE ONE ARMED MAN (upside down speak): "When they sleep within sleep they do not dream. When they fly within sleep they live within. When dreams fly between minds, they are not dreams. When owls fly among minds, they kill within."

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks [Glitch. Glitchity glitch glitch. Glitch.] & Fire Walk With Me & [Glitch. Glitchity glitch glitch. Glitch.] Light Walk With Me cast members.

S3:E15: ACT ONE

EXT. PALMER HOUSE - DAY

One green tulip bud shows red underneath. It seems to look up at the security camera at Sarah's front door. Rotating around the tulip, one diaphanous petal, emerged only a millimeter, blazes incarnadine before the beaming sun. Rotating to the rest of the tulip patch, we see only buds and a large section of clipped stems.

INT. PALMER HOUSE - LIVING ROOM - CONTINUOUS

Sarah sits on the opposing side of the room from her fireplace (unlit) and her mantle, showing pictures of Laura throughout her life. A picture of Sarah and Beth in earlier days. As we turn from the mantle, we see a vase, Laura's vase from the Black Lodge, the mysterious Hayward vase. The large black painted ceramic urn like vase holds the stems and buds of a dozen tulips. We turn to Sarah, a cigarette held out but not ashed, her face enraptured, her jaw dropped.

INT. SARAH'S VISION - EXT. GHOSTWOOD FOREST - DAY (CGI)

Sarah sees her wedding dress high up in the trees, splayed wide and trapped in the branches and grasping twigs of the canopy. An owl descends toward Sarah. She does not move. As the owl moves into strike pose, it transforms into Leland and lands. Leland shakes his left bloody pant leg and a mutilated owl crawls out. Leland's foot and shoe emerges out of the gory pant leg. A hoof crushes owl. Of the white stallion, now beside Sarah. Sarah shoos Leland, who is about to speak, and watches the dress is it grows transubstantial. The white melts away, flowing almost liquid to a red wedding dress, growing more transubstantial, flowing into a green wedding dress, to a black barely substantial, ghost of a wedding dress. And evaporates, leaving only the forest green. When we see Sarah again, she is 25 years younger. 1991 SARAH: "Is this supposed to scare me, Leland?" As Sarah looks down from the trees, she is alarmed to see younger, white haired Leland, with white doppelganger eyes. 1991 LELAND (backwards speak): "Well, it had better! Or you'll be saddled up without your horse, by gum!" Sarah pauses, smiles. 1991 SARAH: "You loved Laura." Sarah pauses. SARAH: " _He_ hated her." Leland's eyes become normal, his hair brown. His expression turning to utter grief. He hangs his head and sobs. LELAND: "I loved my Laura. ... Where's my Laura..." Sarah smiles, now astride her horse. SARAH: "She's right here, Leland. She's right here."

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - LAURA'S GRAVE - LATER - DAY - HALF FLASH BACK (CGI)

From beneath the branches of the cemetery's columnar promenades of douglas firs, we see the open grave of Laura, stone still tipped, roped off with scintillating reflective Twin Peaks Sheriff's tape. Standing around the tape, Albert and Cooper, standing side by side, are 25 years younger. We see Cooper, streaks of blood running down his head, shards of shattered mirror in his forehead. 1991 COOPER: "It's happening again, Albert." 1991 ALBERT: "Any specifics, Coop?" 1991 Hawk examines broken blades of grass, footprints, trail leading from grave, wetness/graininess of dirt, shovel marks. As Albert talks, Cooper looks around, his brow furled. 1991 ALBERT: "I'm delaying your debriefing, Coop, until we finish forensics on the grave. It is out of my sheer fascination with your morbid curiosity that you are here, Cooper. And where the hell have you been for the past 25 days?" 1991 HAWK: "Six hundred hours." Albert rolls his eyes. As Albert inspects ground and coffin, Cooper surveys graveyard, questioning. 1991 ALBERT: "At least four perpetrators, wearing the same style work boots, most likely men. Standard 9 inch rounded point shovels." Cooper regards the barest outline of Leland's coffin, slightly exposed to the left of Laura. 1991 HAWK: "Paint chip." Albert bags a tiny fragment. 1991 ALBERT: "Good eye ... Deputy. They covered her in a cloth, and rolled her over inside the coffin, you'll note the same fibers..." Albert bags fibers. 1991 ALBERT: "...and these fresh stains. I'll need a sample of the dead girl's DNA to match it to-." Cooper spins on Albert. 1991 COOPER: "A-HA! Caught you! This is not past! Nor present! Nor future! Albert, examine Leland Palmer's coffin for clues. He's full of clues." Cooper stoops near ground. 1991 COOPER: "Albert, one of these men was left-footed. The little man in the red suit. The Man From Another Place." Cooper regards the gravestone, prone in the grass. 1991 COOPER: "Laura." Cooper walks closer to stone. He notices something. 1991 COOPER: "Albert!" Albert removes object in dirt with tweezers, a feather, which he bags. 1991 ALBERT: "Told you, a good old fashioned tar-n-featherin'." Hawk examines feather. 1991 COOPER & 1991 HAWK: "Owl. Cooper, yesterday, the Log Lady said, 'The crow and the hawk kills the owl, the pies are all that they seem, and sparkwood burns to ashes.'" Albert furls his brow. 1991 COOPER: "Yes, Sarah Palmer's vision, I was there. Pies! The last piece." Cooper wanders off. 1991 ALBERT: "I told him not to drink the water." 1991 HAWK: "...Taking the Missus up lake to the cabin..." Cooper keeps walking. Hawk turns to Albert. 1991 HAWK: "This crime scene has been altered." Hawk points to the open hole and Laura's casket. Then to Leland's coffin. 1991 HAWK: "Do you remember Leland's coffin showing?" 1991 ALBERT: "Since when? This is the first time we've both been here." 1991 HAWK: "Since when? 300 moons." Albert rolls his eyes. Albert inspects ground and coffin. 1991 ALBERT: "Four perps, wearing the same style work boots, men. Standard 9 inch rounded point shovels." 1991 HAWK: "Paint chip." Albert bags fragment. 1991 ALBERT: "Good eye. They covered her in a cloth, and rolled her over inside the coffin, you'll note the same fibers..." Albert bags fibers. 1991 ALBERT: "...and these fresh stains. Why do I need a sample of the dead girl's DNA to match it to the coffin? There are no stains." Albert looks around, perhaps sensing something. Albert walks to the feather and stares down. Albert bags feather. 1991 ALBERT: "Told you, a good, um, wait a second." Hawk examines feather. 1991 HAWK: "Owl. Albert, owl. Where's Cooper? Yesterday, the Log Lady said something about something, but sometimes all of time and all of space bend all the time." 1991 ALBERT: "That wasn't in Sarah Palmer's vision, 'The crow and the hawk kills the owl, the pies are all that they seem, and sparkwood burns to ashes.' That part was never in there. It was elsewhere. Hawk, what's happening?" 1991 HAWK: "It's happening again, and its all the time now." 1991 ALBERT: "For some reason, I feel like a piece of pie." 1991 HAWK: "Albert, you _are_ a piece of the pie." Albert furls his brow. 2016 ALBERT: "And where the hell has Cooper been for the past 25 minutes?" 2016 HAWK: "300 ghosts."

FADE TO:

EXTS. TWIN PEAKS STREETS - MONTAGE - DAY

1991 Cooper, smiling, walks, clicking his fingers. Every fourth click, walks by: entrance to Ghostwood Memorial Graveyard, 'Route 21 & Ghostwood Memorial Graveyard Boulevard' street sign, Martell's Timber Falls Motel, 'Sparkwood & 21' street sign, Tim & Tom's Taxidermy, 'Sparkwood & Lumberjack', Mo's Motor, 'Sparkwood & Division', Lydecker Veterinary Clinic, 'Division & Northern', Double R Café. 1991 Cooper keeps walking. He walks past the Double R. Inside the window, we see Margaret seated with Garland, both 25 years younger. 1991 Margaret stares out window. 1991 Garland turns his head. 'Division & Concord', 'Concord & Airport Road', 'Airport Road & Trace', 'Trace & Spruce', Jones' Junk Jazz.

EXT. JONES JUNK JAZZ - DAY

Painted Wooden Sign: 'JJJ' 'Jones Junk Jazz' 'Midge Jones Proprietor'. A large junk yard carved out of Ghostwood forest. 1991 Cooper becomes transubstantial. Fades away. RAPIDLY FAST FORWARD 25 YEARS to PRESENT. Sign is now huge, made of old rusted industrial saw blades. Seven saw blades in jagged orange neon, six small: *T*R*I*P*L*E, one huge: *J. James pulls up on his hog, looking for parts. JAMES: "Hey, Midge. When are you going to retire?" Midge Jones, a tall thin African American woman in her late sixties, smiles. She is swaddled in a strange tangerine and black shawl-cape. MIDGE: "When the job's done, I'm done." JAMES: "What job?" Midge laughs. MIDGE: "If I new that, I'd sell the place today." JAMES: "Donna and I are getting married Saturday in Easter Park at 12 noon." MIDGE: "Glory be!" JAMES: "My Mother and my Father are in town." Midge loses her smile. MIDGE: "Heaven forbid." James looks down, guilty. JAMES: "Haven't even talked to them. I can't. I just want to ride away." MIDGE: "Don't you fret." James looks up. MIDGE: "You're glowing, son! You ain't got no worries no how." James smiles. JAMES: "I want my Mama there." Midge chokes up, lips quiver, as she grabs James in a deep embrace and swaddle. MIDGE: "Your Mama will be there. She'll be there, baby boy. She'll be there, alright."

CLICKING MONTAGE

25 YEARS AGO: Pete and truck at airport while Audrey flies away with John Wheeler. Pete and Thomas Eckhardt and Mr. Dibbley and Audrey 25 years ago just before Twin Peaks Savings and Loan explodes. Windom and Annie in Pete's truck. Pete's truck in Ghostwood forest. Windom dragging Annie toward the portal to the Black Lodge. PRESENT DAY: The Triple J's rusted mangled truck frames and bodies, stripped tireless, engineless, windowless. Pete's rusted, twisted shell of a truck.

INT. DOUGLAS FIR ROOM (CGI)

Pete is alone in the circular rough carved room, seen from three stories above Pete, including chains hanging 3 flights down to chandeliers. He wanders around bureaus, armoires, couches, chests, tables, wardrobes, shelves, a bar. PETE: "Well, I told you, Maggie, I hope this works, 'cause if I'm coming back, that means Andrew will show up, I guess?" At floor level, as Pete wanders room, whatever direction he walks in the room, fading through the arboreal walls of the Douglas Fir Room: the transubstantial waves of the forest he simultaneously walks through: EXT. GHOSTWOOD FOREST - DAY. Like the wedding dress, the two locations fade and bleed through each other, as Pete simultaneously must avoid obstacles in both worlds. Furniture, the walls, and the rough uneven forest. PETE: "Which reminds me of the time the Log Lady stole my pickup truck." LOG LADY (VO): "It's happening again." Pete nods, and as Pete moves around, he's forced more and more to maneuver. Over a chair, ducking branches, bouncing up off a couch, clutching bushes, precariously walking on table, brushing aside brambles, climbing up shelf of unlabeled books. He digs the toes of his work boots into a steep hill. He lofts himself up and over an armoire, scampering up a small ponderosa to avoid turning in a circle, near a glass end table under a huge fallen rotted log on wet ground, balancing on a crystal china case, avoiding a muddy pool, tiptoeing on the top of an arching vanity, climbing up an uneven hill of wilds. Climbing. He jumps up to a branch, grips it, swings forward, narrowly avoiding a vase. Pete seems to be pulling the Douglas Fir Room through the forest, but meandering in the circle of the Room.

REPEAT SCENE DOUGLAS FIR ROOM ONLY

Pete's strange dance in circles about the room. Over a chair, ducking nothing, bouncing up off a couch, clutching nothing, precariously walking on table, brushing aside nothing, climbing up shelf of unlabeled books. He digs the toes of his work boots into the air. He lofts himself over and up an armoire, scampering up a nothing to avoid turning in a circle, near a glass end table ducking under nothing, balancing on a crystal china case, avoiding a muddy nothing, tiptoeing on the top of an arching vanity, climbing up the uneven air itself. Climbing. He jumps from mid air to mid air to grasp nothing, grips it, swings forward, narrowly avoiding a vase. Josie sits and pours herself another glass of champaign, returning the bottle to its ice bucket.

REPEAT SCENE GHOSTWOOD FOREST ONLY

Pete's strange dance in a spiral through the forest. In mid air, over nothing, ducking branches, bouncing up off nothing, clutching bushes, precariously walking on nothing, brushing aside brambles, climbing up shelf of nothing. He digs the toes of his work boots into a steep hill. He lofts himself up and over nothing, scampering up a small ponderosa, avoiding something, moving under a huge fallen rotted log on wet ground, balancing on nothing in midair, avoiding a muddy pool, tiptoeing on the top of nothing, climbing up an uneven hill of wilds. Climbing. He jumps up to a branch, grips it, swings forward, his feet narrowly avoiding nothing. Josie, seated on nothing, sits and pours herself another nothing of nothing, returning the nothing to its nothing bucket.

EXT. OLD MILL ROAD & 21 - DAY

The Locked Gable Convenience Store in deep shade from forest.

INT. LOCKED GABLE CONVENIENCE STORE - STOCK AND NEW FOOTAGE - DAY (CGI)

We see the African American 'Electrician.' ELECTRICIAN (backwards speak): "Electricity." Then the glaring bearded woodsman as he slaps his knee twice. Closer to the knee-slapper 'Woodsman' as he ages 25 years to the man we know as Greyson Lanterman, Margaret's husband, the Lantern Man.

EXT. SHERIFF'S STATION - DAY

Closer to the intercom. It blinks red, 'PLEASE STAND BY.' Electrical glitch. Red: 'Say hello'. White: 'Or press CALL'. Blue: 'Door will buzz when open'. Green: 'Keep Twin Peaks Clean'. Electrical glitch. Red: 'PLEASE STAND BY.' Red: 'Say hello'. White: 'Or press CALL'...

INT SHERIFF'S STATION - HARRY'S OFFICE - DAY

Gordon on video. Gordon and Albert stare at Cooper. Cooper marvels at Harry. Harry moves the black queen on his chessboard. HARRY: "I have seen hardened criminals and simple sinners." He moves a white rook. HARRY: "I have seen Josie and I have seen Pete." Black bishop takes white queen. HARRY: "And I have seen the light and I have seen the darkness." White rook takes black queen. HARRY: "Checkmate. Pete." COOPER: "Pete. Wow. Pete. Pete Martell?" Harry turns to Cooper. HARRY: "I am in the One Eyed Lady: Nadine. But who is inside her? I'm Pete, I'm seated with the Log Lady and her beau, the other woodsman. Lumberjacks. The first thing I saw was plastic. Laura. I'm really just a pawn. The most deceptive piece. Pete. Black Lake fish drain into the Snake River. That's all Pete. In his pickup, driving through Ghostwood Forest." COOPER: "They are driving through Ghostwood." ALBERT: "What? Now? Ghosts in a Ghost-mobile?" SAM: "Pardon the interruption, gentlemen. Those ashes, they are douglas fir ashes, from their pollen content, Ghostwood National Forest douglas firs, containing slightly more iridium than normal, but that's consistent, other contaminants, namely from the oil, see errata. From projected percentages, the entire tree was burned, including its roots. Which is why I must be brief. An experiment concludes itself soon, and Agent Cooper, you will be late in 30 minutes to attend the funeral of the nurse." Cooper turns to Albert. COOPER: "I will be attending the funeral of Beatrice Roundtree." ALBERT: "No, Cooper, you will not. You will be staying here for a bit." Sam exits, nods, almost deviously smiling, exiting the door backwards and almost silently closing it in front of him, to the width of his face. Sam's face is lit in a grin. He stares at Albert. SAM: "You got this ... sir?" ALBERT: "Yes, s- Sam." SAM: "Good. Carry on." Sam exits. COOPER: "It's a thread, Albert." ALBERT: "A thread!? Where? In your head!? Let me guess, twelve miles long, twelve miles wide, and twelve miles deep!?" HARRY: "Annie. The next victim." Cooper and Albert are perplexed. ALBERT: "Excuse me, Sheriff? We here at the FBI like to link crimes. Evidence. There is no next victim, because this was an isolated incident, plain and simple. Nadine Hurley murdered Beatrice Roundtree. End of story." GORDON: "Seems cut and dried, Coop. Cut and dried. Next time I'm in town, I want more of that local Double R jerky, cut and dried, seasoned and seasonal. Reminds me of Twin Peaks whenever I'm not there. Hard to chew on, but the truth smacking you in the chompers, all the same. Coop, we're going to have to let Harry in on a little secret. Protocol 11." ALBERT: "I HAVE NEVER SEEN SUCH F*CKING CHAOS IN ALL MY LIFE, BAR NONE, HANDS DOWN, YOU WIN!" Albert is raving mad. Cooper ignores Albert's display. COOPER: "I think we are fighting the evil men do, the evil women do. It's odd, Albert, I think that all the wrongdoing in Twin Peaks in its past to its present and into its future is headed for a dark and disastrous end ... or new beginning, I cannot decide which." Cooper hands Harry and Albert Protocol 12-13-14 envelopes. Sam reenters, head already bagged. COOPER: "Put it on, Harry." Cooper thumbs up, and dons his envelope. Albert rips the bag open, and dons it over his tight lipped fuming glare. Harry shrugs and dons his bag. POV HARRY: No one in room except Gordon on laptop. HARRY (VO): "How's this supposed to work?" GORDON (VO): "Sheriff Harry S. Truman? Welcome to Protocol 11. That's you, Harry. Welcome to the FBI, Special Agent Truman." HARRY (VO): "Well, that's awful kind, Chief, but I-" GORDON (VO): "It's already happened, Harry." HARRY (VO): "Well, suppose that's okay. What's that make you, Protocol 15?" GORDON (VO): "Now how did you guess? Cooper will always be 12, but one day you may be asked to be 15." HARRY(VO): "This sounds as kooky as one of Bobby's schemes. So I report to Cooper?" On Harry's POV, the bag now shows images to Harry: Cooper grinning, Albert grinning, Sam smiling. HARRY (VO): "Albert ... you're not mad?" ALBERT (VO): "Cover, Agent Truman, Cover." END POV for OFFICE. We see bagged Cooper, Sam, and Albert nodding. Gordon observes the four, stonefaced.

EVIDENCE ROOM -CONTINUOUS

Technicians install cameras at the door to the evidence room, a black sphere with articulating multiple cameras pointed into the room and outward from reinforced glass windowed security door.

RECEPTION - CONTINUOUS

Andy stands outside Reception, gentle but firm. ANDY: "I told you, Lucy, my mind's made up. I am going to tell Abby about Easter Park and Waldo." Lucy shakes her pen, then tosses it into garbage. Lucy, pointed and firm. LUCY: "Andy, sweetie, remember that first night? Sarah screaming like a banshee, the grave, everyone seeing Laura? Nadine can see, Waldo goes crazy, then Agent Cooper pops up!? It's like a spook house ride, everything popping up. I don't like any of this." ANDY: "Oh, Punkie, Abby's safe. We have to help Agent Cooper." LUCY: "She's going to drown in this freaky town. Everything's gone so freaky." Andy frowns as Lucy presses entry button. Daniel enters, gestures wide, opened palmed. DANIEL: "Why, I came down to offer my services, pro bono, mind you, to that sweet friend of Laura's, Donna Hayward." Daniel takes a new pen and signs in. DANIEL: "The Haywards and the Palmers go way back. Why, Leland, Sarah, Eileen, and Will, they all moved here the same day. Way back then. But I'm boring you." Far from it, Lucy is fascinated, like one of her soap operas. Daniel sees it. Andy sneers at Daniel. DANIEL: "Leland and I graduated the same day, both of us 360 days early! He a lawyer, I a Doctor, later I would become a lawyer too, by gosh. But losing my twin brother, under such horrific circumstances, well, it changes a man. So I studied law, and wouldn't you know, passed the bar! Again, a full 360! It was tough, but partially retiring, and studying up there at beautiful Pearl Lakes, was, in itself, a great escape. I wanted to help Sarah with the foundation, but she wouldn't take a dime or even talk with me." Daniel regards his watch. DANIEL: "Funny thing, she always jokingly called me the evil twin. Strange, huh? Well, where was I? Oh, yes, she is still mad at me for Beth. Beth and I were oil and water, which seem to perplex Lee and Sarah, because, frankly, they were so in love. And relaxing out there, on Pearl Lakes, remembering Lee and I's childhood, I thought about how bad it looked, us trying to cash in on Laura in Pink Sweat and all. So I've come full circle. But I've decided not to listen to those voices. You see, I failed, wouldn't you know, as a Doctor, a malpractice suit ruined me. Labeled me a murderer, because of one involuntary reflex spasm that caused me to sever the spinal cord and kill a patient instantaneously." Andy and Lucy alarmed. They exchange a strange glance while Daniel pontificates, turning around in the entryway full circle. DANIEL: "I lost everything. Lee helped, and I became a lawyer, but again, Sarah refused to let me join Lee's firm here in Twin Peaks. Do the hustle!" Daniel dances to music in his head, from his movements, some 1970's disco fiasco, twirling, ending in a posed double pointed fresco. Lucy and Andy in strange wonderment. DANIEL: "That's where I met Margot Flying Eagle, up there at Pearl Lakes. The strangest thing, that's also the first time I met Margaret Lanterman. Pearl Lakes. 'Margaret' means pearl, you know. Funny thing, huh? Ain't that just a hoot!? Course you know, round these parts, she's called The Log Lady." Lucy and Andy nod, lost. Lucy presses a button. LUCY: "Excuse me, Mr. Palmer, but you will have to step into our waiting room while I process your request." Front door unlocks. Daniel steps back as Lucy squeals. LUCY: "Gwen!" Enter Gwen Morton, and her son Carl Morton. GWEN: "Baby sister!" Gwen fobs two babies off onto 25 year old Carl, his hair, a mop of blond curls. Gwen brushes Daniel aside, leans into reception window. Gwen hugs Lucy. Lucy hugs Gwen. They wiggle back and forth like cheerleaders, tufts of blond hair in whips and wiggles. Even one baby has reached his tiny left hand into Carl's golden wilds. Gwen stops, whispers. GWEN: "The twins." Lucy and Gwen lose their expression, and slowly turn to the two babies, and Carl rolling his eyes. Even Daniel, now in waiting room, stares out glass window at babies. CARL: "Fraternal, Aunt Lucy. Mom, you're being weird again. They're fraternal. Look at my little boys, different as can be." One in thick black curls. One in wispy white blond twists. Black awake, animated, his hand in Carl's hair. White asleep, sickly, clutching and chewing blanket. GWEN: "Doctor Stanicek." LUCY: "Doctor Stanicek." LUCY: "Lawrence Jones (whispered) Martell." Gwen nods. LUCY: "Doctor Stanicek's lost so much money up at One Eyed Jacks, he complained until he got Lawrence fired, and he's been a blackjack dealer at One Eyed Jacks for nearly ever. (whispers) Lawrence was fired by Juliette Renault, incarcerated below." Lucy points down. GWEN (whispered): "Lawrence Jones, the son of Midge Jones and Pete Martell?" Andy and Lucy nod. CARL: "Uggck! I have gum on my shoe."

HALLWAY - CONTINUOUS

Cooper is around corner, listening to Reception. COOPER: "After I go to the Funeral, I have to see Sarah Palmer." Albert rolls his eyes.

S3:E15: ACT TWO

EXT. DOUBLE R CAFÉ - LATER - DAY

Moving from the window that the 1991 Cooper passed earlier, instead of passing by window, we travel backwards by the window to the door of the Double R.

INT. DOUBLE R CAFÉ - DAY

From the doorway, we see the backs of Ed and Norma, seated close together. Moving closer to the booth, we see Ed with a baby perched in his arms. NORMA: "How's Little J?" ED: "He's fine for now, darling. Sorry I been gone so long, hon. Where's Shelly?" NORMA: "Wednesday, her day off. Ed, I know we've tried so hard to make each other's dreams come true. We've never made this much money." Norma wipes baby J's tiny fingers. ED: "He got pretty dirty swapping out that transmission." Norma chuckles. NORMA: "Ed, I've been thinking. Shelly off today, Heidi gone, you gone. Ed, between the two of us, we own ten businesses." ED: "Now, darling, don't you go including Pink Sweat. That's more like collecting aluminum cans. Eight." NORMA: "Alright, eight. Ed, it's time to retire. So we can spend more time with this little guy." Baby coos at Norma's gentlest tickling. ED: "You're thinking about the inheritance." NORMA: "Why did Jedidiah have such a strange will?" ED: "Well, sweetheart, back then it was just the lumberjacks. They had their own ways of doing things, I guess." NORMA: "Speaking of guesses, any ideas what it could be?" ED: "Mind's blank, darling. Heirloom perhaps. It has to fit in that box. We all have to share it. You, me, Jack and Cat, James, now Donna, Dee and little J here. And Darling, it includes Nadine. 20 years. I was married to her 20 years. She's a Legacy spouse. They sure had some very old ways." Ed looks down. NORMA: "What's wrong, Ed? Is seeing your brother tonight..." ED: "No, its not that, or the inheritance thing. Mo's motors." NORMA: "Don't listen to those nasty boys." ED: "You heard." NORMA: "Yeah. 'Mo's Motors: Fair Deal at a Fair Price.' 'Big Ed's Gun Farm: A Dead Nurse at What Cost?' I can't believe KTP3 aired it. Someone should shoot Mo." ED: "Now, darling, don't ever talk that way." NORMA: "After the inheritance, I mean after the reading of the will, let's sit down. It's all too much. Let's set up our own will. James and Donna can have any business they choose. Cat and Jack can hit the road. Dee, she'll never be a table hopper or a grease monkey." Ed smiles and they hold hands. NORMA: "That leaves Little J." Norma hugs Ed and baby J.

Sarah Palmer enters Double R. She carries Leland's briefcase. She goes to a booth, balances herself on the partition, then sits, a touch exhausted. Norma rises, taps J's tiny nose, and walks to join Sarah. Norma sits across from Sarah, and holds her hands. NORMA: "Everything alright, Sarah?" Sarah summons a smile. SARAH: "Just pushing myself..." Sarah catches her breath. SARAH: "Too much. I'm fine." NORMA: "I wish you would resume Meals on Wheels." Sarah smiles. NORMA: "So what can I get you?" As Sarah opens her mouth, she also turns to door. A moment later, Cooper enters, looks around, sees Sarah, and moves to her table immediately. Sarah pats Norma's hands. SARAH: "Just sit and stay a spell." Norma smiles. NORMA: "Okay." Cooper joins them. He nods to Ed, who joins the three. COOPER: "Nice to see you back, Big Ed." Ed nods. COOPER: "And who's this little one?" ED: "Agent Dale Cooper, meet J Bartholomew Hurley. He's our daughter, Dee's, newborn. He's only what, 13 days old?" NORMA: "15. He was born the day you returned." The four sit together, all smiling at baby J. Sarah unsnaps the locks of the briefcase. Therein, its only contents: a family album, closed, labeled 'Palmer'.

EXT. EASTER PARK - DAY (CGI)

At a picnic table, two television cameras film Bobby and Shelly, holding hands, brimming in smiles. Another camera on Peter Milford in business suit. PETER: "Deputy Robert Briggs, you're retiring from the Sheriff's Department?" Bobby smiles. BOBBY: "That's right. Friday is my last day." Shelly looks into Bobby's eyes. SHELLY: "We're getting married again!" PETER: "Congratulations. But our viewers want to know: does your retiring have anything to do with the numerous strange events in Twin Peaks these last 3 weeks: Laura and Leland Palmer's grave, that odd FBI man, in fact, you both testify to seeing a vision of Laura ... the night of February 23rd or morning of February 24th?" They nod. PETER: "That's incredible, and almost impossible to believe." The couple grins. They kiss. FREEZE FRAME. ANNOUNCER (MIKE, VO:) "That's right, you're live for the Pink Sweat-KTP3 simulcast interview of Deputy Robert Briggs and his bride-to-be, Shelly McCauley." END FREEZE FRAME. PETER: "Many have attributed these peculiar sightings to hysteria. I'm not here to judge, so I'll let our watchers decide. All questions come through Pink Sweat's interactive system. First question: This one's for Shelly. 'Have you chosen a Pink Sweat persona, avatar, domain, or name?'" Shelly looks into Bobby's grin and admiring eyes. (RONETTE'S VO in parentheses): SHELLY: "Well, lemme see..." Shelly looks at us. SHELLY: "I think my name should be (Skye Ash)." SLOW FADE TO LATER. Peter and cameras gone. Lighting change. Shelly and Bobby standing, facing each other, swaying. They stare into each other's eyes, smiling. Almost slow dancing, all four hands hand in hand. BOBBY: "Why didn't you tell Pete about that creamed corn lady you saw the day Laura died?" SHELLY: "I wanted that Milford guy gone. We have to talk." BOBBY: "Baby, I quit my job for you. I have all the time in the world for you. Pink Sweat is f*cking near-viral. We're rich, baby!" Shelly smiles awkwardly, looking down. SHELLY: "I'm pregnant." Bobby lifts her chin, huge grin. Seeing his smile, brings hers. He kisses her. BOBBY: "That's great!" Shelly looks down in a frown. Bobby loses his grin for a question. BOBBY: "I mean, hold on, WHEN!?" Shelly's eyes well up. SHELLY: "Since that night under the light." BOBBY: "The light?! You mean Sparkwood & 21?" Shelly nods, a streak of tear shining. BOBBY: "Baby, you mean you've known since then, or the Baby is only as old as then?" SHELLY: "I found out today, Bobby. Doctor Stanicek confirmed it on the phone. It just happened. Doc Stanicek said, within the last 3 weeks, but my ovulation cycle..." Shelly balls. SHELLY: "Oh Bobby, he said it could be yours..." Bobby clenches his jaw. Shelly sniffles. SHELLY: "...or Joey's, or ..." BOBBY: "Do NOT tell me you got a Hurley in the oven!" Shelly stares down to Bobby's clenched fists. As he clenches them more, the fabric of the universe bends and blends, matching:

INT. GELATINOUS UNIVERSE (CGI)

In the blackness, the universe is not an outward curved sphere, but an inward tangle of parabolic loops, forming a bizarre converse 'ornament' hanging in the blackness, parabolas bend ever inward to center, warping filaments of galaxies. A universe bending in on itself everywhere all at once, showing dark matter greens and dark energy purples collapsing in inward sweep. This strange ornament, hanging in the blackness, sparkles as it turns. FLASH TO LIGHT. The ornament now hangs not in blackness, but dazzling light. In the light, the ornament sparkles with stellar and galactic creation and bending destruction. The ornament twinkles. Pop. The entire universe bends in upon itself, and pops out to a normal universe scape. Dark matter fades. Dark energy races to the edge of the all, stretching and expanding the size of the entire universe.

INT. GREAT NORTHERN - BEN'S SECRET OFFICE - DAY

Ben and Jerry stand in front of 6 large flat screens, showing: simulated Milky Way, red giant Betelgeuse rotating, starscape across galaxies, Butterfly Nebulae, caption 'HORNE OBSERVATORY LIVE INTERACTIVE' showing entire Earth and thousands of lines pointed from Twin Peaks directly to thousands of stars, video scrolling through millions of simulated filtered stars in every variety and color including black holes and quasars, magnetars, pulsars, theoretical stars: quark stars, strange stars, planck stars, preon stars, white holes, grey holes, gravastars. JERRY: "You've done it, Ben! You've sold the stars in the sky!" Jerry regards a cube under a black silk cloth on a pedestal. JERRY: "What is this thing, Ben?" BEN: "That, Jer, is the 'la prise du jour' of tonight's soiree. The Cube." JERRY: "The Hurleys." BEN: "No, no, no, Jer. Family." Jerry reads through papers. BEN: "And speaking of family, our dear Audrey. Our dear Audrey has gone and topped herself again." JERRY: "The pearls, Ben?" BEN: "The pearls, Jer."

FADE THROUGH INT. VAULT OF PEARLS - INFRARED LIGHTING

In the closed dark safe, four strands of white pearls, culminating in one large tear drop pearl. FADE TO:

INT. SHERIFF'S STATION - RECEPTION

Harry approaches Lucy. HARRY: "I'm going up to see Margaret." LUCY: "Why, Sheriff Truman?" HARRY: "She has to know more than me about what the hell's going on in this town." Harry points to one of Lucy's monitors. HARRY: "What's that?" On the monitor, we see the freeze frame of a Lauralike seated on a park bench. Lucy presses a button and video continues:

LUCY'S MONITOR - EXT. EASTER PARK - IN GAZEBO - DAY

Blond Aurora and brunette Lela sit next to each other, holding hands. They stare at us for a moment. LELA: "So, we will no longer be playing Laura Palmer in any fashion on Pink Sweat." AURORA: "We lost our show, but listen, fans, we were getting rich, they gave us the lines." LELA: "It wasn't real." AURORA: "Never was." LELA: "All a vision." AURORA: "Like in a dream." LELA: "A dream? How so?" AURORA: "Stop doing that!" LELA: "What?" AURORA: "What we're doing, the unspoken rule." LELA: "You're silly." AURORA: "Unlike you." LELA: "Unfriend you." AURORA: "Unfriend me!?" Aurora turns to camera, losing shocked look for a smile. LELA: "That's right folks." AURORA: "The characters of 'Nova' and 'Avon' have been banished from Pink Sweat." LELA: "But we still got this channel, and we hope you come back sooner." AURORA: "Or later." LELA: "Or already have." AURORA: "Or best yet, you will soon." LELA: "Uh-huh." AURORA: "You're sweet." LELA: "We love you." AURORA & LELA: "Je t'aime! Bon nuit! Adieu!" SLOWING MOTION. ALBERT (VO): "Audio enhancement." Video pauses. LUCY (OS): "Agents Cooper and Rosenfield identified Albert Renault, barely audible, Sheriff Truman. Video continues. BEAR (barely audible, distortion, VO): "That's awful!" Aurora and Lela frown and look down. BEAR (barely audible, distortion, VO): "Cut." ALBERT (VO): "Namesake Renault." COOPER (VO): " _Albert_." ALBERT (VO): "Don't call me that." COOPER (VO): "Albert, I would not, ever." ALBERT (VO): "Renault doesn't appear to me to be one of these 'Anti-Laurite's'. If he is in league with the twisted scissor sisters ... haven't you noticed? They keep changing their hair?" Lucy clicks button FREEZE FRAME.

BACK TO RECEPTION - CONTINUOUS

Harry looks at Lucy. HARRY: "Why are you listening into Albert and Cooper's analysis?" LUCY: "They told me to, to bring them anything on Pink Sweat that warrants attention. This isn't Pink Sweat, it's their own video blog now, (whispers) the 'twins'." Harry smiles. LUCY: "But I thought, since I heard _Albert_ Renault on the tape, they should know, then I listened to them listening to _Albert_ , then I got several calls, then you walked around the corner, so I paused it because you're leaving, but you don't have your hat." Harry feels his sandy grey brown waves of hair. HARRY: "Thanks, Lucy." Harry heads back to his office. Lucy clicks more buttons. On another screen, next to the two frozen twins, a Horne Observatory video starts, showing galactic starscape. Captions: 'Horne Observatory' 'You are here' and an arrow points and zooms to a particular blue giant star. Caption: 'Lucy Brennan's Star'.

EXT. SHERIFF'S STATION - FRONT STEPS - MOMENTS LATER - DAY

Harry exits front door, his Sheriff's hat donned. He tosses the black queen chess piece in the air, and catches it, smiling. FREEZE FRAME. FADE TO LATER as Harry disappears and the light of the sun has shifted.

EXT. TWIN PEAKS SKY & GREAT NORTHERN - LATER - LATE DAY

Casting long shadows, the Great Northern far below shows no traffic up the cordoned Northern Avenue to the palatial hotel. In fact, no movement.

INT. GREAT NORTHERN - AUDREY'S OFFICE - LATE DAY

Boxes of Audrey's property from One Eyed Jacks. Julie enters with a laptop. Julie looks worried and frazzled. Audrey is removing her white suit jacket. She is dressed all in white, save for the green gauze veil drifting down from a small white hat. JULIE: "Miss Horne, you're going to want to hear this." Audrey hands Julie the jacket. AUDREY: "A spot of coffee on the lapel. I want it removed within the hour." JULIE: "Yes, Miss Horne." Audrey points to laptop. AUDREY: "What is this?" JULIE: "At first, it was just high school girls, but now its gone viral." Julie, now perspired, presses the lap top. Laptop shows stock footage of the Anti-Laurites, dancing around tree. AUDREY: "I've seen that piece of sh*t." JULIE: "Shh, listen." Audrey indignant at being shushed. New audio from laptop: Click. FEMALE VOICES SINGING (VO): "Dance with Dirty Laura, she touched us all! That's when Dirty Laura began to crawl. Dirty from her grave to the Peaks to dwell. Dirty Laura Palmer, she's back from Hell!" AUDREY: "I am going to f*cking kill Bobby! Get him on the phone, and tell him I am going to cancel Pink Sweat!"

S3:E15: ACT THREE

INT. GREAT NORTHERN - LOUNGE - NIGHT

We see a natural stone fireplace burning low. On its mantle, a row of Horne Industries pamphlets in cases. We travel by them: Great Northern Resort, Horne Tours, One Eyed Jacks, Horne's Department Store, Green Horne Marijuana Shoppe, Hornes of Fire, Horne Observatory, Pink Sweat. Caption appears, 'AND INTRODUCING CARL RODD AS LORD DRAC' in spectacularly refracting dark galactic mirrors. Camera pans to Carl Rodd, seated in chair near fire. He wears a poor working man's jeans, work boots, T, and stained work jacket. He stares at camera. CARL as LORD DRAC (modified backwards speak, VO CARL): "You see, I've seen things. Before I ever got here." FREEZE FRAME. BOBBY as CHASE (VO): "Chase Stone here. Tired of bad voice overs? In Pink Sweat, we're on it. You just heard Fan Number 49341, Carl Rodd, who plays 'Lord Drac' on Pink Sweat. He's chosen 'reverse one' on his voice modulator. Your persona, your profile, your avatar, your voice, your fame, your fortune, your story, your drama, your way, you're hooked." Caption: 'Our Highest Trafficked Streams:' SLOW FADE TO: A black & white still of Donna and James smiling with faces close.

EXT. SHERIFF'S STATION - NIGHT

Through the front doors, we see Cappy in dispatch room.

INT. SHERIFF'S STATION - RECEPTION

Cappy sits in reception, eating a donut. He hovers over a monitor that shows security camera to cellblock: Donna's cell. James stands outside the cell. They do not touch each other. Donut crumbs fall on the monitor, and are as quickly wiped away.

DONNA'S CELL - CONTINUOUS

James and Donna stare at each other through the bars. James suddenly grins. JAMES: "I can't believe you slapped Cooper!" Donna holds her left arm. JAMES: "Why? Why are you in here?" DONNA: "I'm not really here." JAMES: "What do you mean?" Donna turns away. JAMES: "Donna, what's going on?" Donna, still facing away. DONNA: "I overheard Mom and Dad talking about Laura and Sarah and all those twins." JAMES: "What did ... what's wrong, Donna? Look at me." Donna turns. DONNA: "Benjamin Horne. They said my biological was somehow involved." JAMES: "Why does everything got to be so weird?" DONNA: "James, it isn't weird, it's insane. Benjamin Horne, my father. Benjamin Horne there when Laura was conceived." JAMES: "When are they going to release you?" Donna turns from James again. Donna holds her left fist to her lips and seems to talk into the arm, in distant, lost words. DONNA: "Soon, James ... I can feel it." Donna looks up to the cell's brick walls.

EXT. SHERIFF'S STATION - BASEMENT WALL - CONTINUOUS

In the grass, we stare at the outside of the station, the bricks which disappear into the ground. A droplet of dew is suspended on a blade of grass, reflecting the police tape surrounding Northern Avenue. The tape reflects a distant street light. That street light reflected in Easter Park Lake. Farther down lake, Calhoun Memorial Hospital in the far distance, reflected in the calm waters.

INT. CALHOUN MEMORIAL HOSPITAL - NADINE'S ROOM - NIGHT

Nadine in her strange restraint chair, asleep. Sheriff's guard at door. Mike holds Nadine's hand. MIKE: "God forsaken cloning process? Nadine, honey, did someone hurt you? What did they do to you?" Mike straightens her red locks. MIKE: "Stay strong, honey. You can do anything." Mike hangs his head.

INT. HEIDI'S ROOM - NIGHT & BLACK LODGE (CGI)

Heidi is intubated, asleep in front of a large round medical mirror. We travel into the mirror like a pool of mercury, rippling from its center. On the 'other side' of the mirror, we turn to see Heidi's room rippling like quicksilver. The circular mirror hovers above the green formica table of the Black Lodge. Seated on one side of the table: The Man From Another Place, The Magician, Mrs. Tremond. Across from them and the mirror, Carl Rodd. As we rotate around them, the mirror-view changes to the character's point of view: When the three rotate past Carl's view of them: Man From Another Place wild-eyed insane, Centenarian Tremond chattering her teeth together faster than a jackhammer, Magician morphing through multiple ages repeatedly simultaneously: 7 year old, 43 year old, 94 year old. Their view of Carl: weak, feeble, shaking. We stop as the mirror is hidden in profile. MAN FROM ANOTHER PLACE (backwards speak): "He's full of secrets." TREMOND (backwards speak): "Before secrets are lies." MAGICIAN (backwards speak): "After secrets are pain." TREMOND (backwards speak): "Write that in your diary, Cooper." MAGICIAN (backwards speak): "Theresa, Theresa, Theresa." MAN FROM ANOTHER PLACE (backwards speak): "Past it is or future it is!" We rotate again to now see Heidi in mirror in coma from the point of view of Heidi's mirror. Heidi's mirror now impossibly rotates around Heidi and gurney, like a medical scanner might, passing through the equipment and gurney. Black Lodgers stop, stare into mirror. As view of Heidi rotates in Black Lodge Mirror, we rotate around the Lodgers and the table and mirror. Both worlds spin. Our entire view of the Black Lodge morphs into a droplet, as we recede from it, to a single droplet. The droplet falls and splashes on:

EXT. SHERIFF'S STATION - FRONT STEPS - NIGHT

Drizzly rain. Judge Sid exits station with Martha Grimes. Cooper rushes to door to catch her, Albert on his heels. COOPER: "Your honor, I do not wish to pursue charges against Donna Hayward. It was a misunderstanding. Easily forgiven and contributed to her emotional state on the occasion of her first marriage." ALBERT: "The Bureau does not agree. The assault happened while Agent Cooper was on duty, on Sheriff's Department property, five feet from here!" Judge Sid bundles in her long coat. JUDGE SID: "Prisoner sentenced to time served. Prisoner is free to go. Immediately. Mr. Rosenfield, let's save our efforts for worse malefactors, shall we? Martha, so ordered." Martha clicks her blackberry. MARTHA: "Noted."

INT. SHERIFF'S DEPARTMENT - RECEPTION - LATER - NIGHT

Donna emerges from hallway with a guard. Guard checks in with Cappy. Donna sheepishly smiling, approaches Albert, arms crossed, and Cooper, smiling. DONNA: "Thank you, Agent Cooper. I mean, sorry, Agent Cooper. I'm a fright of emotions right now." She kisses his cheek. ALBERT: "Again inappropriate." Donna grins and sparkles as Albert rolls his eyes. DONNA: "But seriously, Agent Cooper, you've made me the happiest woman in the world!" COOPER: "Donna, you're glowing!" Donna's smile is brilliant, her eyes glistening. Donna's lips do not move. DONNA (VO): "I am the pain lady." Donna gives a smaller smile and moves to Cappy.

Donna signs out at Reception. Cooper watches her. CAPPY: "Your property, Miss Hayward." He hands her keys, purse, and her cell phone. Cooper stares at Donna as she leaves, lost in thought and concern.

EXT. SHERIFF'S DEPARTMENT - FRONT STEPS - MOMENTS LATER - NIGHT

Donna sits on front steps. She finishes up cell phone conversation. DONNA: "...Okay, James, after I get cleaned up. But that doesn't leave us a lot a time before the inheritance box ... Okay, love you. I love you ... See you in a few, James." She hangs up and dials phone again.

INT. CALHOUN MEMORIAL HOSPITAL - NADINE'S ROOM - NIGHT

Mike broods as he sits next to Nadine. His cell phone rings. Mike looks at it, a picture of Donna captioned with 'Decline' 'Answer'. He rolls his eyes and presses answer. MIKE: "Hello?" DONNA (VO): "Mike, I'm glad I caught you. I just wanted to, I wanted-" MIKE: "Spit it out, Hayward." DONNA (VO): "I never thanked you for saving Mom, that creepy night we were all at the Double R. When she was attacked." MIKE: "It's my job, Donna." As Donna talks, Mike regards Nadine. Nadine's sparkling chestnut eyes. DONNA: "I know it's been rough, with Nadine. I just want you to know how much the family appreciated what you did. It's kind of sad, those we value we often overlook. Mike, I just wanted you to know, if you need someone, I'm a phone call away. We all are." Mike's eyes well up as he strokes Nadine's hand. MIKE: "Copy that, Donna." Nadine's sparkling chestnut left eye. Match shot: Circumference of the sclera to:

EXT. GREAT NORTHERN & SKY - LATER - NIGHT

Circumference of the waxing crescent moon. Drifting spring clouds. Then Great Northern below, some of its dark windows reflecting the moon.

INT. GREAT NORTHERN - COOPER'S ROOM - NIGHT

Cooper paces room, talking to his earpiece. COOPER: "Diane, this is an archival entry, to be placed into the record. For the second time since reinstatement, I have seriously jeopardized the integrity of the Bureau. Although the experiment with Phillip Michael Gerard yielded many results, it is shrouded in secrets. I needed a backup. Donna Hayward. I plan to talk to DEA Agent Denise Pulaski regarding my first infraction. The second infraction I will leave to my judges. Donna Hayward was guilty of nothing but a ruse and an experiment I set before her. I wanted her to slap me. I wanted her incarcerated. Her arm hurt in the presence of Catherine Martell and Leo Johnson. I believe those two are inhabited by Black Lodge Unreal Entities, 'B.L.U.E., 'Blues'. The evil in this town does not follow rules. I have stepped outside of Bureau regulations twice. I shall not do so again. For although seemingly unrelated, this tangled haywire knot of wrongdoing will never again make me compromise the spotless integrity of the Bureau." Cooper regards his watch, and exits.

INT. DINING ROOM & BAR & DANCE HALL - MOMENTS LATER - NIGHT

Slow dance music plays. Cooper sits with Denise at the bar. Cooper has a cup of black java, Denise a scotch & water. Denise points at Cooper's drink. DENISE: "You really know how to celebrate, Coop." Cooper looks down. COOPER (low): "Agent Pulaski, on the day of February 28, I injected myself with one CC of acetylcholine, as provided by Major Garland Briggs." Denise chokes on her drink. DENISE: "What!? Wait. Acetylcholine? Why?" COOPER: "I wanted to dream. You see, in the Black Lodge, you do not dream. The Lodge _is_ a dream. I failed the Bureau." DENISE: "What did Gordon say?" COOPER: "Gordon said, 'First, that's your only strike. Second, owing to the innocuous nature of the experiment, we have labeled it as, let me see, a 'medically derived necessity in therapy.' But Coop, all research must be approved. Second, I think that boy in blue needs a talking to.' End quote." DENISE: "So this is your two suspects relating to those never before seen stuff. I mean, acetylcholine is not a narcotic, also, I've seen acetylcholine." Cooper looks down. DENISE: "Anywho, Coop, you're secret's safe with me. Not because I approve, but because, you're Coop. Somehow, it had to happen." Cooper looks up to lounge. DENISE: "So what did Sarah Palmer show you in that briefcase?" COOPER: "How do you know about that?" DENISE: "People talk. Its what I do. I'm the Harvest Lady." Cooper frowns. COOPER: "Just a photo album of the Palmer Family." DENISE: "Just, huh? You need to lie better." Cooper hangs his head a touch. DENISE: "Listen, I knew that wasn't a blood draw. You need to be a better phlebotomist too. Listen, Coop, that may be against Bureau guidelines, but not criminal." Denise pats Cooper's shoulder. Denise takes another drink. DENISE: "So, Dale, tell me about Miss Horne. Because I have some very juicy gossip about her." COOPER: "There is little to say, Denise. I find her ... intriguing. I have already fallen twice. I can not get involved with anyone related to this case." DENISE: "I have. I married her." The two stare a moment. Denise waives the bartender down. DENISE: "Another scotch, my fine fellow." Lawrence Jones pours another drink for Denise. Cooper regards Lawrence. COOPER: "You worked at One Eyed Jacks 25 years ago." Lawrence smiles. LAWRENCE: "That's right. Worked there almost 30 years. Juliette Renault fired me when she took over the place." Lawrence moves to other customers. Cooper seems fascinated again. COOPER: "What is this gossip?" DENISE: "I'm paraphrasing the ravishing vixen, but it goes like this: she was on the phone to Twin Peaks Savings and Loan." COOPER: "The bank that blew up the day I went into the Black Lodge." DENISE: "She said, 'I don't want the pearls. They make me see the mutilated faces of Pete Martell, Andrew Packard, and poor old Clarence Dibbley."

Audrey enters behind Betty and Garland, Garland in uniform, Betty in a western dancing skirt and blouse. DENISE: "Well, speak of the devil." Cooper leaves Denise at bar abruptly. DENISE: "Who leaves a girl at a bar without saying goodbye? ... Never get involved, hmm?" Denise knowingly watches Cooper walk toward Audrey, who beams at his approach. Cooper nods to Audrey and continues on to Betty and Garland on the dance floor. Audrey composed but disappointed. Denise surprised. Denise turns back to her drink. Garland and Betty slow dance. Cooper awkwardly stops on dance floor near couple. COOPER: "Better to seek Betty." Garland has a chuckle. GARLAND: "I've always thought so." COOPER: "Better to seek Betty." BETTY: "I'm right here, Agent Cooper." With Audrey, she checks her watch, not wanting to leave the engaged Cooper. Audrey sighs and exits. COOPER: "The owls are not what they seem." GARLAND & BETTY: "No, they are not." They smile and kiss. COOPER: "Nothing is as it seems." Cooper sits. Betty and Garland very slow dance. BETTY: "Nothing is nothing." GARLAND: "Therefore, it seems nothing is exactly as it appears - simply nothing. Wouldn't our friend in the White Lodge have said: 'Everything is not as it seems?'" BETTY: "Dear, don't play with semantics." COOPER: "Nothing is as it seems." GARLAND: "Think of it this way, Agent Cooper: 'Ice is as it seems. Ice.'" COOPER: "The pies are all that they seem." BETTY: "Pie is pie, ice is ice, nothing is nothing." GARLAND: "But the owls." BETTY: "Are not owls." COOPER: "What are the owls?" BETTY: "Animals. Conduits. Waldo. Monkey. Owl."

EXT. GREAT NORTHERN - CONTINUOUS - NIGHT

From a tall douglas fir, we see James and Donna, giggling and tickling their way toward the grand foyer entrance of the Great Northern, dressed in formal gown and tux. Farther down the branch, an owl blinks its double eyelids.

INT. GREAT NORTHERN - FOYER - AT FRONT ENTRANCE - CONTINUOUS

James and Donna enter. Donna's hair is still partially wet from shower. AUDREY: "Hurry up, sis." JAMES: "What's going on, Audrey?" AUDREY: "Girl talk." Audrey moves Donna forward as she hurries her behind a nearby counter into a back room. James pulls at his bow tie, and wanders toward the Lounge.

INT. VAULT ROOM - CONTINUOUS

Inside the Great Northern's almost bank-sized security vault, lined with silver safety deposit boxes. DONNA: "What is it, sis?" AUDREY: "Your real inheritance." The Guard unlocks a safety deposit box safe showing the quadruple strands of pearls. The Guard stands post next to another guard, outside vault. DONNA: "Wow, Audrey, are those real?" AUDREY: "No, they are yours. And yes, they're real. Real to the tune of half a million dollars." DONNA: "Oh my God, Audrey! They're exquisite! Sis, I don't need pearls." AUDREY: "Hush, you do too. Now try them on!" Donna looks like a naughty girl caught stealing candy. She looks around, then dons the pearls, Audrey helping with the clasp. Donna strokes the pearls about her bosom. DONNA: "Oh my, Audrey, why? Why now?" AUDREY: "Your wedding, duh." DONNA: "Come on, Audrey, I know you. What's your angle?" Audrey turns away. AUDREY: "They were in that bank." DONNA: "TPS&L?" Audrey's eyes well. AUDREY: "F*ck!" Audrey removes a compact and tissue, daubing her eyes. AUDREY: "Now your messing up my mascara." Donna takes Audrey's tissue and delicately daubs her. DONNA: "Cooper?" Audrey nods, tight lipped. DONNA: "Sis, Cooper cares about you, I'm positive." Audrey smiles, brushes the spot where the coffee was on her lapel. AUDREY: "Everything's just going wrong today." DONNA: "Don't worry, Audrey, I have something for you regarding Cooper. Something very interesting."

INT. BEN'S SECRET OFFICE - VIDEO MONITOR - CONTINUOUS

Video shows EXT. DEAD DOG FARM - NIGHT. Two Flying Eagle Lauralikes. Both in grey gowns. Both with hair of wet green pine 'needles' of tiny feathered locks, frosted in moonlight, and tied in knots with small wooden tree knots. Holding hands, twirling. LAURALIKES: "There's an owl in the henhouse, two by two. There's a wolf in the henhouse, do-si-do..." They twirl separately, rejoin. LAURALIKES: "...There's a snake in the henhouse, four by four. There's a fox in the henhouse, please stand by." They twirl. They drift their heads in the twirl, and as we pan back, this video is the only illumination in the dark Secret Office. Video flickers off. Lights lift. Room illuminates. Furniture has been moved to fit a large dining table.

INT. DINING ROOM & BAR & DANCE HALL

James enters, smiling. James' grin grows wide. JAMES: "Hey, Agent Cooper!" COOPER: "James." JAMES: "Hey, are you going to-" Cooper holds up his salute. COOPER: "I apologize, but I cannot comment, nor commit to attending the wedding. I am sure there will be a Bureau Presence. If you will excuse me, James, I must attend to another matter." JAMES: "We're opening the Hurley inheritance box tonight." COOPER: "Another time, James." Cooper exits. James shrugs.

BEN'S SECRET OFFICE - LATER

The Inheritance Cube. The black silk veil has been lifted. The cube is carved from a single piece douglas fir, weathered and lacquered black, a square foot box. A cube frame box inside another cube frame slightly askew, another askew, another. Down seven frames, to a small seventh cube. Each cube one inch farther down, one inch deeper on one side, one inch rotated, forming a 'spiral staircase' of frames down to the final seventh cube.

Twelve servers stand around the long dining table, replete with accouterments. Seated around the table, Ben, Ed, Dee, Little J, Norma, Annie, Jerry, Heba, empty seat with place card 'Miss Audrey Horne', Johnny in tux and headdress, Donna, James, Jack, Cat, Sylvia (to Ben's left). Dee Hurley is a 25 year old athletic woman with strong Hurley features mixed with Norma's gentle beauty. Her thick strawberry blond hair is tied in a pony tail, looped over her front right shoulder and hanging all the way to the floor. Jerry stands, as a chef and handlers wheel in two large domes. JERRY: "Folks, your in for a treat. Crown roasts!" Handlers remove domes. JERRY: "But not just crown roasts, two crowns, two families, one feast! You'll note the two roasts are as different as can be, both specially prepared by chefs of their native countries, flown here tonight. But I'll let our renown chefs describe the succulency of tonight's main course." Jerry sits.

FADE TO LATER

Servers cleaning table and serving cocktails. Couples standing together. JERRY: "As Nadine Hurley Nelson's Attorney, I am happy to represent her interests here. So, gather around, Hurleys, brothers, Hornes, sisters, family. But folks, we're approaching midnight!" BEN: "It is a profound honor to be chosen by the Hurley family to be the 'Town's Benefactor' and the facilitator of Jedidiah Hurley's will. It is also a privilege to have my beloved daughter, Donna Hayward, joining the Hurley family on the occasion of her pending nuptials. I have chosen as counsel, my brother, Gerald Horne, to do the reading." JERRY: "I, Jedidiah Aloysius Hurley, bequeath the contents of this box, to be equally shared by my grandsons, Edward and John Hurley, their direct heirs, wives, and their Legacies, on the occasion of Independence Day, in the year of our Lord directly following the six hundredth new moon following my passing." Jerry stops and looks around. JERRY: "That's 2016, folks." Jerry resumes. JERRY: "The contents of the box may be opened anytime after the new moon, but must be shared equally by Independence Day." Jerry looks up. JERRY: "That's it, folks." Ben gestures for all to gather. BEN: "Gather around. Everyone moves closer to the box. Jerry issues the guards and servers out. JERRY: "Go, go, go." Security guards and servers exit. People look down to the box. BEN: "Unfortunately, Jedidiah left no opening instructions." JACK: "It's obviously in the middle cube. Bust it open." DONNA: "No!" People look at her. DONNA: "I mean, let's start sharing it right now, the experience of it, opening it on our own, like a party game, because folks, it doesn't get better than this!" James grins. ED: "Seems to me, we aught to take it up to Calhoun Memorial and have it X-rayed." DEE: "Oh Daddy, its not a bomb." Several manipulate, pull, twist, shake, press, hold the box every which way. It does not budge.

INT. FRONT DESK - CONTINUOUS

Julie tries to hide alarm as Catherine approaches. CATHERINE: "Catherine Martell and body guards." JULIE: "Are you checking in, Mrs. Martell?" CATHERINE: "Penthouse." Julie types on computer. JULIE: "Available in one hour." CATHERINE: "Good, cause I need a stiff belt." Julie hands Catherine her two key cards. Catherine waves her away. Her guards take the keys. As Catherine walks, a server stops before her with a platter of round black and white cookies. Catherine waves the young gal away. CATHERINE: "Shoo."

INT. WHICH WAY LODGE

Left blackness, right whiteness. Magician seems comfortably seated in a throne of nothing as he floats and revolves around as if in zero G. He wears a green suit, ala Man From Another Place's all red suit. MAGICIAN (backwards speak): "I am the Magic Man." He tumbles at times upside down, reversed. Then we join his POV as the half black half white universe tumbles as he stays still, tumbling in the same pattern of twists turns reversals as above. The black and white tumbles spins and reverses wildly. Tumbling and morphing into a room. Above. A convenience store.

EXT. TWIN PEAKS - NIGHT

Harry's SUV drives through the woods.

EXT. WOODS AND ACCESS TO LOG LADY'S CABIN - NIGHT

Harry's SUV pulls up. The road is blocked by a well kept evergreen 1968 Chevy Camero SS Convertible, black top up. Harry exits. He looks up the hill and dirt road to Margaret's cabin. HARRY: "Dammit, Margaret, I aught to cite you." Harry begins the jog up the hill.

Half way up, Harry removes his hat and wipes his brow.

At the side of the cabin, Harry walks toward the porch, just peaking out around the corner. Harry steps closer, stepping on underbrush. Nearby shotgun cocks. Harry draws. MARGARET (OS): "That's far enough! State your business!" Harry holsters his gun. HARRY: "Margaret, it's me, Harry. Sheriff Truman." MARGARET (OS): "Come into the light, Sheriff! I can't see you." Harry rounds corner, hands out. We now see Margaret from behind, her shawl, fur lined and cloaked over her head, her shotgun pointed. HARRY: "Margaret, you hunting owls again?" MARGARET (face hidden): "That's far enough." HARRY: "Okay, Margaret. Time to lower the gun. She does. She stows it to the side of her tea table. Harry sits. HARRY: "Margaret, you know why I'm here. I'm seeing things, remembering things. Why am I trapped in the Log, your Log?" MARGARET (face hidden): "I can't see." HARRY: "You don't have to. I do see." MARGARET (face hidden): "State your business." HARRY: "I guess I want to know what it all means, Margaret. Josie, Pete, Greyson, you, me, in that room." MARGARET (face hidden): "Come into the light, Sheriff!" HARRY: "Margaret?" Harry turns Margaret toward him. Her eyes are doppelganger white. As Harry's eyes grow wide, instantaneously:

EXT. TRIPLE J JUNKYARD - NIGHT (CGI)

Harry stands in the forest, eyes wide. Blinks. Down below, transubstantial fog blows through the douglas firs and around the junk yard. Pete's twisted rusted upside down truck untangles itself from other junk, turns upright and forward, moves down junkyard pathways, silently floating, dust falling, silently turning around heaps of tires, past sorting bins, old sheds, motors, strange closed curiosity shop, batteries, 'fresh mulch', out an open public gate, down a dirt road across to Spruce & Trace street sign, straight off intersection into Ghostwood Forest and is gone.

EXT. GHOSTWOOD FOREST - THE OWL CAVE - LATER - NIGHT (CGI)

Pete's empty truck shell arrives and comes to a silent stop in front of The Log Lady, the Lantern Man, and Pete, all transubstantial, standing at the entrance of the Owl Cave. The Lantern Man holds out his lantern to strangely transubstantially illuminate the hovering shell. The Lantern Man has a piercing glare and wide smile. Pete looks confused. Margaret has her log and her beau's arm locked around each other in a strange embrace, her face blank, chewing pitch. She spits the pitch away from the three and turns to stare up to Greyson, the slightest smile crossing her stare. GREYSON: "Get in!" Pete awkwardly goes to drivers side and is intercepted by Greyson. GREYSON: "Ladies first!" Greyson opens the door to a stripped to only metal and rust interior, and as dirt and rust fall, helps Margaret into the cab. The invisible cushions seem comfortable to Margaret. Greyson hands the Log and the Lantern to Margaret and hops into driver's seat. GREYSON: "I drive!" As disgruntled Pete circles around truck to passenger side door, Greyson follows Pete's transubstantial form with the lantern, making strange 'sunbursts' through Pete into Ghostwood Forest and into Owl Cave. Pete gets in. Greyson holds the Lantern up, shining it out the missing front windshield. GREYSON: "Hold on to something metal!" Pete grips side of truck. Margaret gently grips the lantern. GREYSON (backwards speak): "Electricity!" The truck too becomes transubstantial as its inhabitants, in sparks of green and red micro-strobes of embers blinking in and out of existence, in orbits about the lumberjack, log lady, lumberjack. The lantern glows bright as a headlight, micro-strobes in orbit. CLOSEUP GREYSON'S HAND: As he turns his wrist to start the pickup: A transubstantial 'key' made of green electricity grows electrocharged to tiny lightning bolts until substantial in green bursts of bolts. Fracturing from one bolt of lightning. The lightning above the roadhouse the night Leland was caught 25 years ago. END CLOSEUP. Truck vibrates and shakes as if starting without a sound. Truck jets through the owl cave like a video game, silently. It whiplashes at the end of the cave then darts out the cave. Whips through the forest and around trees as if programmed.

EXT. TWIN PEAKS & SKY ABOVE EDGE OF THE WORLD - NIGHT (CGI)

Far below, the spectral truck silent and strangely digitally moves through and around trees, then out of tiny Twin Peaks, east, over Idaho, toward Montana's Continental Divide and toward the edge of the world, a crumbling place splitting the North American continent right down the Divide, everything crumbling inward, including fractures all the way to the oceans, draining a cataclysmic volume of water to its depths. Pete and Log Lady and the Lantern Man approach the edge of the world.

Just before the edge of the world: GREYSON: "You ready, Maggie!?" LOG LADY: "Hush, you." Margaret cradles her log. Lantern Man cradles Lantern. Nobody drives. Caption: 'Midnight, March 10'. LOG LADY: "Light, walk with me." The Log erupts in sparks of green and red micro-strobes of embers blinking in and out of existence, in tornadoes about the Log. The Lantern beams sun-bright sprays in sparks of green and red micro-strobes until we are blinded to white of embers blinking in and out of existence, in galaxies about the Lantern. LOG LADY: "Catherine Martell did not desecrate the grave of Laura and Leland Palmer. She had nothing to do with it." And off the edge of the world they go. The truck tumbles off into strange starscape across galaxies in the chasm of falling mountains and continental behemoths. No heat nor fire in the depths of the apocalyptic gulf. As the truck falls, the falling mountains warp to a tunnel. Traveling inside the strange twisting vines of the Giant's 'finger tunnels'. The tunnel of falling rocks and stars morphs through strange tunnel realities:

Through a tunnel world of Wink Tapes inside a computer code universe we fly by Cooper's Ring. COOPER (VO): "Gordon..."

Through a tunnel world of mirrors inside the White Lodge we fly by a ring of knotted Vines. MARGARET (VO): "Greyson..."

Through a tunnel world of fractals inside EON's Cyclotron we fly by Sapphires. MONKEY (VO): "Judy..."

Through a tunnel world of micro-strobes of orbitals inside Ghostwood Forest we fly by the Moon. HARRY (VO): "Josie..."

Through a tunnel world of aurora inside the Palmer House we fly by the Ceiling Fan. SARAH (VO): "Beth..."

Through a tunnel world of Pink Sweat inside a Movie Set looking awful 'Horne-like' we fly by a Tarot Deck. AUDREY (VO): "Bobby..."

Through a tunnel world of jigsaw puzzle pieces inside the Packard Tower we fly by Johnny's Headdress. JOHNNY (VO): "Laura..."

Through a tunnel world of transubstantiality inside Tremond's Picture Frame we fly by the empty Hayward Vase. LAURA (VO): "Donna..."

Through a tunnel world of electricity inside the Owl Cave we fly by the Jade Ring. ANNIE (VO): "Dale..."

Through a tunnel world of strange pixelation inside the Sheriff's Station we fly by the White King Chess Piece. WINDOM (VO): "Annie..."

Through a tunnel world of light inside Heaven we fly by Lauradroplet, Laura trapped within a droplet of dew. LAURA'S ANGEL (VO): "Sarah..."

Through a tunnel world of ripples inside a Starscape across Galaxies we fly by the Dweller on the Threshold. GIANT (VO): "Cooper..."

Through a tunnel world of peculiar swirlization inside the Waterfall we fly by the Inheritance Box. DONNA (VO): "James..."

All these worlds come to sketchy halt inside the 'Haunted' Double R. Margaret, Greyson, Pete, the truck fade away.

INT. HAUNTED DOUBLE R - THE FUTURE - DAY (CGI)

A floating Twin Peaks Sheriff's Department hovercar releases 8 fist-sized scanner drones outside a broken window of the Double R, crushed to the side by collapsed walls of the monumentally dilapidated diner, completely stripped of fixtures and furnishings. Except, the huge plastic telltale soft-serve ice cream cone lies crushed on the filthy rubble floor. And in a corner booth, Greyson, holding up his lamp. LANTERN MAN: "It's okay, you can come out." 1991 Heidi steps out, in her clean Double R uniform. 1991 HEIDI: "I couldn't get my car started." When she looks up, we see Margaret with her log, the Log Lady. LOG LADY: "That's okay. When was the first time you saw Mrs. Tremond, The Corn Lady?" HEIDI: "When I was a little girl in Germany." LANTERN MAN: "Germany! Deutschland!" SKETCHY CUT TO:

The tunnel, Log Lady, Pete, Lantern Man back in truck speeding through space-time tunnel. As they whip through the starscape across galaxies, the tunnel becomes more and more wooden, as the walls of the Douglas Fir Room, until ending in cubical black room, carved from a single piece douglas fir, weathered and lacquered black.

INT. GREAT NORTHERN - BEN'S SECRET OFFICE - NIGHT

Donna and James talk in corner of room. James fiddles with his fingers. JAMES: "Where's Laura? I mean, where's she been? Have you seen her since that night at the waterfall?" DONNA: "Laura's gone now. It's up to us. Cooper, he-" JERRY: "Gather around, folks!" They do. BEN: "I am convinced, this is a family box. Hurleys gather around. Each of you press one face of the center box." Cat, Jack, Norma, Ed, James, Dee press the cube. The top and a side open. We watch their faces, not seeing the contents. Caption (again): 'Midnight, March 10'. JAMES: "Is that what I think it is?" DEE: "How is that even possible?"

FADE TO BLACK.

All Speak: Entire cast to date. Not all at once, but traveling through the spoken line as if a tiny drone microphone flew by all their lips in perfect succession, in the time it takes to speak the line. This time, females. Also, this time blended with Lucy's intonations, lilts, inflections, lullabies. VOICE (Lucyfied, females all speak): "I am Project Sapphire."

FADE IN:

INT. BOB'S LODGE (CGI)

A world of blowing dirt and detritus, the sky only blowing dust. Mounds of rubble, dunes of dust. In the extreme distance, a tiny zephyr-occluded Cooper. COOPER (echo, VO): Albert, who was Robert Bartholomew Palmer?" A mound animates: a creature snaps its head toward the far off echoing Cooper, in a cloud of dust and sand. A 49,341 year old Robert Bartholomew Palmer. Bob. Part mummified, part centenarian, part bone, part dust, part sinew, part rot, with Leland and Daniel's perfect right blue eye, and Bob's perfect brown left eye. Parts of the sinew are micro tiny insects not flesh nor bone nor rot. These leaching tick larvae like egg festooned cannibalizing ravenous critters form their own utilitarian pathways and tunnels and restructuring of muscles and flowing blood pus slobber putrescence and discarded egg husks, dead critters, the evolved, the mutated, the genetically manipulated, the hypercomplex, the creamed corn chameleon, pus swimmers, the devolved barbaric, the one legged, the 12 legged, 100 legged, 1000 legged with mutated antennae mandibles stingers proboscides. From this we pan back to reveal this ancient looking form of Bob. BOB/RBP (guttural enhanced backwards speak, chopped talk: his words chopped and rearranged as if parroting Laura's line: 'I feel like I know her, but sometimes my arms bend back'): "SOMETIMES I COME BACK! BUT I FEEL LIKE YOU KNOW MY ARMS BEND HER!"


	16. Audrey, don't go in there!

(First Edit: 09-28-2018)

TWIN PEAKS: EPISODE 16: "AUDREY, DON'T GO IN THERE!"

S3:E16: TEASER

INT. INHERITANCE BOX - INNER BOX - NIGHT (CGI)

Showing INT. SECRET OFFICE below. The tiny, barely substantial form of Pete's rusted truck shell holds Margaret, Greyson, and Pete, who stare forward. The truck is no bigger than a gnat, hovering above a pendulous emerald engagement ring, which hangs at the center of the inheritance box's inner open box. The ring, a hexagonal cut emerald, with 3 parallelogram emeralds, is latticed in small white diamonds. The 4 emeralds and facets form the intersection of Sarah's, Cooper's, and Margaret's peaked tattoos centered around Garland's triad tattoo combined, which we see overlaid (stock, including Cooper's strange hidden glowing luminol revealed twin peaked tattoo.) This symbol, we shall call the 'All'. End overlay of tattoos. The ring is suspended at the carved vertex of three wooden rods in an x-y-z axis. Impossible to have been placed there, without the rods being dismantled, or perhaps the tiny rods grew out of the ring. At the six ends of the rods, the six face plates of the inner inheritance cube. MARGARET: "It's time, Greyson." Greyson leans in and gives Margaret a peck on the lips. Margaret and her log morph then flow into the light of the Lantern then into the Lantern. Greyson tips his lantern and cradles it as the Log Lady would her Log. Greyson pats the Lantern. GREYSON: "Sh, sh, sh. I will translate. I am the Lantern Man." PETE: "So you say. Listen, Greyson, I was just hoping this time, we could forego that dreary room with Josie. (Whispers) She's not really herself, these days." GREYSON: "Josie." Pete ponders. PETE: "That jar of oil. I think I need it for my pickup truck." GREYSON: "It's not engine oil." PETE: "Yes it is, Greyson." GREYSON: "No it isn't." Greyson smiles big. GREYSON: "I drive!" Pete taps the dashboard. PETE: "Well, that seems a must. Just be gentle with her. She runs like a dream, she purrs like a kitten, but she's as temperamental as Catherine. 'Trusty' or 'Rusty' was _his_ name, when I was in earshot of Catherine." Pete strokes the rusted out dashboard. PETE (whispers): "But _her_ real name is 'Midge'." Pete smirks impishly. Greyson belts out laughing. Pete laughs. The tiny spectral truck zips by the ring, the inner box, off into the room and disappears into the distance immediately.

INT. GREAT NORTHERN - BEN'S SECRET OFFICE - NIGHT

Jerry, Heba, Ben, and Sylvia in background with Johnny as Jack, Cat, Ed, Norma, Donna, James, Dee, Little J, and Annie stare at the emerald and diamond clustered ring. CAT: "I'm first!" She fans her hand of splayed fingers. CAT: "Mother-in-law!" Cat pushes by others and strides forward to ring. SYLVIA: "Oh, I like this gal!" Donna, frowning, moves to Ben, Jerry, Heba, Sylvia, and Johnny. JOHNNY: "Laura..." Donna smiles. In front of the five Hornes: DONNA: "Benjamin, what did you have to do with Mrs. Palmer and all those embryos?" Jerry's brow flies up. Sylvia's face races ambivalent among horror, anger, regret. Heba puts her hands to her hips, turning to Jerry. Ben issues Donna away from prying ears. As they move away, Sylvia shakes her head. BEN (low): "Listen, Donna, I funded the process, end of story." Ben looks over to crowd around ring. BEN: "We were all just starting out. Sarah, Leland, Will, Eileen. Your Stepmother and I." Ben watches Jerry, Heba, and Sylvia join crowd, Jerry offering up hands in dumbfoundment. BEN: "I just expedited the process." DONNA: "Laura was an experiment for you! And then you slept with her!" Ben deeply frowns. He moves Donna farther away, toward his antique wine cabinet. BEN: "It was a sin, that to this very day I regret. I have made it my paradigm to try to heal the wounds-" DONNA: "Is that how you got your jollies!? Am I one of your experiments? Am I a clone!?" Donna swats the air as if a fly was buzzing around.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks [Glitch. Glitchity glitch glitch. Glitch.] & Fire Walk With Me & [Glitch. Glitchity glitch glitch. Glitch.] Light Walk With Me cast members.

S3:E16: ACT ONE

EXT. GREAT NORTHERN & TENNIS COURTS - MORNING - ESTABLISHING

Wind blowing. People bundled. A couple, clad in cold weather tennis gear, having trouble against passing zephyrs diverting their serves and returns.

EXT. GREAT NORTHERN - NATURE WALK & DOCKS - MORNING

Cooper, out walking. He cinches the belt of his trench coat. "That's all, Diane. I will speak with you soon." Cooper touches his earpiece, breathes in, regards nearby blackberry bushes rustling, Black Lake's turbulent waters, the douglas firs along his path. Cooper stops. Near the docks, Cooper spots Carl Rodd. Carl walks down docks toward the yacht, ' _Château Promenade_.' COOPER: "Carl Rodd!" Carl turns, and lifts his hand to shade his eyes and see Cooper walking toward him. Cooper, the early sun blazing behind him, appears shadowed, almost silhouetted. CARL RODD: "Agent Chester Desmond." COOPER: "No, Special Agent Dale Cooper." CARL RODD: "I didn't misspeak, Agent Cooper." Cooper considers. COOPER: "Why are you in Twin Peaks?" Carl smiles, rustles open a squished soft pack of cigarettes, withdraws one, straightens it, and lights it with a shaky left hand. CARL RODD: "Stay tuned and find out." COOPER: "Where are you headed this crisp and windy morning?" Carl blinks, puffs, stares. CARL RODD: "One Eyed Jacks. Then the Observatory. Then Pearl Lakes." Carl stares, puffs, blinks. Cooper a bit peeved at passing puff. CARL RODD: "What about you, Agent Cooper, what are you up to today?" COOPER: "Calhoun Memorial. Then City Hall. Then the Bob Lydecker Clinic."

EXT. BLUE PINE MOUNTAIN & HORNE OBSERVATORY - MORNING

Blue Pine Mountain rises mightily above Twin Peaks. Its summit, capped in snow, glints eagerly in the sun. Above the snow, the turning spheres of Horne Observatory.

INT. HORNE OBSERVATORY - MORNING (CGI)

As customers tour the inner facility, a video screen shows a NASA visualization animation of the probe Juno, entering polar orbit of Jupiter (EXT. SPACE - JUPITER & JOVIAN MOONS). Captions on screen: 'July 4, 2016' 'Jupiter' 'NASA probe Juno' 'Begins Polar Orbit' 'Link your Avatar'. Another screen shows INT. PLANET EARTH - THE EARTH'S CORE with captions, 'Earth's Electromagnetic Dynamo' 'The Earth's Core' 'Disturbing Radio Interferometry', and as we travel into the screen, we see ripples bounce off the spinning bright solid core. Closer into those ripples, we hear the faintest echo of Sarah's voice. SARAH (heavy filter, resonance matched to ripples, VO): "Laura? Laura? Laura?"

EXT. TWIN PEAKS & WHITE TAIL MOUNTAIN - MORNING

From the Observatory atop Blue Pine Mountain, we see across expansive and restless Black Lake, to Twin Peaks sister peak, White Tail Mountain, a slightly lower elevation summit, capped in snow, dully reflecting the overcast morning sun.

EXT. CALHOUN MEMORIAL HOSPITAL - MORNING

Two ambulances parked near double doors to Emergency room. Two drab sparrows pull at both ends of a worm. Two pairs of white nurses shoes abandoned in a double-wide wheelchair for the morbidly obese, which sits just outside the door. Two 'dings' as we hear the doors open. Twice.

INT. CALHOUN MEMORIAL - GERARD'S ROOM - MORNING (CGI)

Cooper looks over Gerard, who lies in bed, hooked to multiple monitors, asleep. Doctor Louise Shelvy observes Gerard, tapping on a tablet. COOPER: "Doctor Shelvy, how is Phillip?" DOC SHELVY: "He suffered a mild infarction. He's stabilized. However..." COOPER: "Yes, Doctor?" DOC SHELVY: "I don't know how they do things at the Sanitarium, but you will no longer be using Mr. Gerard as a test subject. He will remain on his normal dose of Haloperidol. You are not to convince him otherwise, or our Medical Board will be forced to file an injunction against the Bureau." COOPER: "I apologize if it in any way harmed Mr. Gerard, Doctor." DOC SHELVY: "I don't see how Doctor Jacoby signed off on this. That man is a menace." COOPER: "Doctor Shelvy, I noted the care and precision with which you had attended Ronette Pulaski all those years ago. This is related to that very case. For without Phillip Michael Gerard being off his medication on the night of Laura Palmer's murder, and additionally unmedicated the hours leading up to the capture of Leland Palmer, Ronette might not have survived and we might never have caught Laura's murderer." Shelvy looks dubious. Cooper raises his salute. COOPER: "However, Doctor, I will follow your instructions to the letter." Cooper smiles. Shelvy looks directly at Cooper. DOC SHELVY: "Good, then you won't object to my removal of Doctor's Hayward and Jacoby from his case." Cooper looks almost hurt. COOPER: "Acknowledged." Cooper looks down to Shelvy's tablet. COOPER: "Who is the third Doctor you have removed?" DOC SHELVY: "Not Doctor, Nurse. Roundtree. I'm afraid, since her death, our records had not been updated, a pro forma removal." COOPER: "Strange. She was removed from seeing Gerard, even though she is dead?" DOC SHELVY: "Like I said, computers." Gerard pops awake. GERARD: "Hospital food!" Cooper notices liquid hospital food. COOPER: "Tremond." GERARD: "Doctor?" DOC SHELVY: "Yes, Phillip?" GERARD: "Could I have a few moments to say goodbye to Mr. Cooper?" DOC SHELVY: "Of course." Shelvy exits. GERARD: "Agent..." Gerard winces. GERARD: "There were more owls in the station. There are more owls right here in the hospital." COOPER: "Who are the owls?" GERARD: "All who travel. The sleeping Ladies. The One Eyed Lady." COOPER: "Nadine." Gerard nods. GERARD: "The Corn Lady." COOPER: "The Harvest Lady?" Gerard shakes his head. COOPER: "Heidi?" Gerard nods. Gerard grabs Cooper's left arm. GERARD THE ONE ARMED MAN: "I am the One Armed Man." COOPER: "I am the One Eyed Man." Cooper winks. Gerard nods, sweaty. GERARD: "There are so many." COOPER: "This is our last chance, Phillip." GERARD: "The one in the Station. The hidden one. The one who is again. The tarnished white. The Shadow Man." COOPER: "The name hidden in the darkness." Gerard nods enthusiastically. Cooper lifts his left arm, which Gerard still grasps. They stare at Cooper's ring. The ring rotates around Cooper's finger without friction. COOPER: "I can't even feel it turning."

INT. PHILLIP MICHAEL GERARD'S DESCRIPTION (CGI)

Blackness. Showing Gerard's transubstantial face floating in darkness blended with Gerard's description, showing Twin Peaks: GERARD (VO):

"Imagine your view, as if split in two,

One half night, one half day, then two by two,

One half trees, one half sky, then four by four,

Sixteen squares, one hue each, floating, doubling,

Half circles, half squares, halving evermore,

Half raining, half not, half country, half town,

Half people, half sights, half woods, half spooky.

Half moving, half still, half dream, half troubling,

Half backwards, half mirrored, half upside down,

Half future, half past, half just float right by,

Halving more, more, until there is no shore,

'Till dots and pixels fill the starless sky,

Half Laura, half Donna, but all Judy.

Imagine this view, as if I were you,

Split in two, staring at the two of you."

Indeed, we see the pixels which formed half Laura (half Gerard), then half pixel Donna (half Gerard), then all Judy, then all Cooper. We move back to reveal Cooper staring into a hospital mirror.

IS THIS PINK SWEAT'S CAMERA COVERAGE? OF EXT. HAPPY HELPING HANDS - DAY

Judy stands bundled, stepping up and down against the cool day. 12 different camera ANGLES as she counts: JUDY (mouthed, with captions): "One ... Two ... Three ... Four ... Five ... Six ... Seven ... Eight ... Nine ... Ten ... Eleven ... Twelve!"

EXT. TWIN PEAKS TOWN HALL - BLACK & WHITE - LATER - DAY (CGI)

ANGLE from security camera, pointed at front steps. On the steps, a discarded crumpled faded wad of paper. Camera impossibly zooms, becomes color, then super high HD, then 3D, then translucent full color X-ray, showing the wad to be a wanted poster for 'JULIETTE ANNABELLE RENAULT'.

INT. TWIN PEAKS TOWN HALL - JUDGE'S CHAMBERS - DAY

Judge Sid sits at her desk, and signs papers. Martha assists Sid. MARTHA: "Judge Sid, it seems to me, strange." JUDGE SID: "It's 9 a.m." MARTHA: "So noted." JUDGE SID: "I'm sorry Martha, but Daniel Palmer is counsel and should have appeared, filed a counter motion, or continuance. Restraining Order 74V-24/PALMERvPALMER now a permanent restraining order. ... Any other business?" Martha looks down. MARTHA: "The pie." JUDGE SID: "Why does the FBI care about misdemeanor vandalism with a ..." MARTHA: "Huckleberry pie." JUDGE SID: "With a huckleberry pie, when they already have Heidi Vogel for attempted murder?" MARTHA: "Perhaps to show state of mind, Your Honor?" JUDGE SID: "That's for the defense. Who's assigned this one?" Martha frowns. MARTHA: "Public Defender Timothy Pinkle, Your Honor." Judge Sid droops her forehead to her hand. JUDGE SID: "Ibuprofen." Martha nods. Martha fills Sid's coffee cup. They both look up to see Cooper pass by office.

INT. CORRIDOR - CONTINUOUS

Lana sits on a bench, shuffling papers, and examines her watch. Cooper stops. COOPER: "Lana Budding Milford! How is Sarah?" LANA: "Agent Cooper." Lana stows papers to briefcase and snaps it shut. Lana stands. LANA: "Sarah. Oh my, Sarah. You know, I think in some ways she seems better than ever..." COOPER: "However...?" LANA: "However, the stress of all this." Lana shakes her hair. COOPER: "Sarah is strong, Miss Milford. Sarah was built for this. She has the strength of every loving mother." LANA: "Well, she has a little more strength now. The restraining order against Daniel Palmer is permanent, de facto." Cooper turns his head to see James and Donna enter the Registrar's Office. COOPER: "Thank you, Miss Milford, but if you will excuse me..." Cooper walks toward Office.

INT. REGISTRAR'S OFFICE - CONTINUOUS

Cooper pokes his head in, and looks around with a smile. COOPER: "James and Donna! Where are you honeymooning?" DONNA: "Pearl Lakes." James grins. JAMES: "Then the Lumber Baron suite up at the Great Northern." Donna smiles and hands James a pen to sign paperwork on counter. On the counter, a copy of the Twin Peaks Gazette. Cooper lifts paper. COOPER: "It might snow on your wedding day. I wish you both would reconsider having the ceremony inside. Contingency plans." Cooper lowers his paper. Cooper winks. Donna smiles. Donna winks. COOPER: "Perhaps your local churches could..." JAMES: "We're set on the Gazebo, right, sweetheart?" Donna beams. DONNA: "Right, sweetheart." They kiss. Cooper smiles. JAMES: "Old Catherine's really going to be pissed now." DONNA: "Who cares, it's our honeymoon." COOPER: "Why would Catherine Martell care that you are going on your honeymoon?" DONNA: "That spooky car." JAMES: "It's not spooky, Agent Cooper. Just a 1929 Rolls Phantom." Cooper grabs James arm. Donna and James look perplexed at Cooper. COOPER: "The Mayor will have to wait." As Cooper exits: COOPER: "Diane, we may have just received a break in the case..." Cooper walks toward Mayor's office, by Judge Sid's chambers, then by Mayor's office toward front doors.

EXT. EASTER PARK - IN GAZEBO - DAY (CGI)

Laura's left arm appears in green fractal sprays. LAURA (VO, begin blending from backwards speak to normal speak): "I'm coming back, Donna,.." Laura's left arm disappears in green fractal sprays. LAURA (VO, still blending from backwards speak to normal speak): "...but sometimes my arm takes me elsewhere."

EXT. BIG ED'S GAS FARM & CLASSIC AUTO REPAIR - DAY

A team of FBI and Sheriff's vehicles surround the black 1929 Rolls Royce Phantom, its hood up and engine exposed. Big Ed exits the Observation Deck of the gas station with his arms up. BIG ED: "Officers, how can I help you? What seems to be the trouble?"

EXT. JACOBY BUNGALOW & DRIVEWAY - DAY

Jacoby's dayglow green Charger, with its telltale flamethrower 'flames' of gears of Hawaiian flowers, sits in driveway. The driveway is palisaded with ground hugging purple crocus.

INTS. JACOBY'S BUNGALOW - JACOBY'S OFFICE AND LAURAROOM - DAY

Jacoby leaves. Eolani looks out window to see Jacoby enter his Charger and pull out. Eolani goes to desk and removes a key. She again checks the window. She moves to a silk floral wall mural depicting falling white orchids and pink hibiscus. She opens the mural panel to a dark hidden room.

ANGLE FROM LAURAROOM

Eolani clicks on a light. Eolani frowns. She lifts her cell phone and takes a picture of the room we do not see. A dangling string of red yarn hangs from the ceiling against Eolani's face. She swats it away.

EXT. TREMOND APARTMENT BUILDING & PARKING LOT - DAY

Audrey's black BMW is parked as two black Lincoln Towncars pull up on either side. Men in suits exit Towncars and look around. The men touch their bluetooth earpieces and nod. A female chauffeur exits BMW and opens back door. Audrey's red heels emerge and reveal her perfect gams, then her scarlet silk frock and wide brimmed black veiled hat. The chauffeur assists Audrey up. Another female exits front passenger seat, holding a portfolio. Her male guards fan out into the courtyard of the apartment complex. Audrey strides forward, her female guards in flank.

EXT. TREMOND APARTMENT - CONTINUOUS

The chauffeur rings the door bell. The door opens to reveal the real Mrs. Tremond, a rotund woman in her seventies, not the shriveled centenarian Mrs. Tremond. REAL TREMOND: "Yes? May I help you?" AUDREY: "I'm Audrey Horne. Get the f*ck out of my way, I own this flea trap!" This Tremond shocked, indignant. REAL TREMOND: "What!? What's the meaning of this!?" Audrey leans in. AUDREY: "Unless you want an eviction notice, I suggest you comply." REAL TREMOND: "I will do no such thing! I have rights! You need to give 24 hour notice or something." Audrey waves to the other female guard, who hands Audrey the portfolio. AUDREY: "Listen carefully. I'll make you one offer. Abandon your apartment and its contents, and I'll give you this check for three hundred thousand dollars." Audrey holds up the check from Horne Industries for 300 grand, made out to Marabeth Lorelei Tremond. Marabeth takes the check, wide eyed. MARABETH: "Can I gather my personals?" AUDREY: "Of course, I'm not an ogress. You have one hour." Audrey and Marabeth turn to front room's wall clock sounding 8 a.m.

EXT. COURTYARD OF APARTMENT BUILDING - LATER - DAY

Audrey sits on a courtyard bench, fanning one leg. Audrey examines her fingernails. Her nails show vermillion decals striped in bright red white lightning. Below her nails, a tablet showing a photograph of Cooper. Audrey swipes the screen and Cooper's photo is replaced with a legal document: 'Petition for Name Change of Business' 'Deep Grove Apartments' 'to' 'Horne Industries' 'Horizon Condominiums'. Audrey's tablet sounds a deep bell clang. In the corner of the tablet, a caption: '9 a.m.'. Audrey stows the tablet to her portfolio.

INT. TREMOND APARTMENT - DAY (CGI)

Audrey's men take photographs of the disordered apartment. Audrey's women nod to Audrey. Audrey enters Tremond apartment. Audrey flings her nails at her people, shooing them to the door. Audrey hugs her portfolio to her bosom. Traveling through its leather, inside the dark portfolio, the tablet clicks on, showing INT. GREAT NORTHERN - FRONT DESK - DAY and Julie speaking with no sound, concerned about something. Screen pixelates to darkness.

BACK TO TREMOND APARTMENT (CGI)

Audrey closes the door, to the concerned faces of her women. In the windows of the apartment, shadows of her guards circling the apartment. Holding the portfolio, Audrey sways. She lilts back and forth as if dancing with the portfolio. She closes her eyes in a deep smile. She opens her eyes, staring at the portfolio. Around her, the furniture and every stitch of furnishings fade away, including the wall between the Tremond Apartment and Harold Smith's former Apartment, forming a vast vacuous empty room, which we shall call the Tremond Lodge.

INT. TREMOND LODGE (CGI)

Audrey aghast. Bare to the walls, the wallpaper crackling and fading, peeling. Audrey clutches the portfolio, alarmed but strong. Audrey takes a step toward a window, seeing it is no window, but an enlarged version of Tremond's picture frame given to Laura. Every window is a strange angle on the picture of the room with a door in the corner. Audrey alone in the silent room. Audrey moves to a 'window' and stares into the room and the open corner door. Through the depiction of the door's threshold, in the next room, a window beyond the door. Audrey leans in. Out that depicted window, ANGLE FROM LOCKED GABLE CONVENIENCE STORE, staring down to the self serve pumps of the isolated convenience store. Shelly's baby blue Charger stops outside. The driver's door opens. No Shelly. A beat, and the door closes on its own. Worried, Audrey shudders. She steps back and turns to where the front door _was_. Now, the door has been replaced with a view from Laura's room (ANGLE FROM TREMOND PICTURE FRAME ON LAURA'S WALL - DAY) showing Laura's open door to the second floor landing below the (now present) ceiling fan. Audrey shudders. She retrieves her cell phone: black, out of power. Her tablet: black. Audrey tears up. She stomps her foot. She looks up to ceiling, trying to settle her tears. AUDREY: "Where are you when I need you?" Audrey gasps a breath. AUDREY: "Log Lady, this is the One Legged Woman." INTERCUT LOG LADY'S CABIN - PORCH - DAY. Sunny, the Log Lady sips tea, bundled against the bright but brisk day. Log Lady is sensibly bundled in woolen frontierswoman cape. Strangely, Audrey seems to pause for the Log Lady to set her tea down. LOG LADY: "Then is when you ask a question." AUDREY: "Log Lady, help me." Audrey weeps. LOG LADY: "The answer was/is/will be right in front of you." Log Lady pats her Log. END INTERCUTS. [Audreytalk: Unique to her, Audrey's 'backwards speak' lines are spoken quickly, at normal pace, but with her natural terse. Sound team: Imagine Laura's line, 'I feel like I know her..." spoken normally but tersely, taking perhaps a half to a quarter the time it takes for normal backwards speak.] Audrey notices the peeling wallpaper, and its faded pink roses. Examining further, the 'peelings' of the wallpaper are actually orchid petals, perfectly shaped, not colored on the glue side, but rather stained in veins of mildew perfectly mimicking real orchids. AUDREY (Audreytalk): "Okay, this isn't good. Donna was right. Okay, think. Cooper! What would Dale do? I'm Audrey Horne. This is bad. I feel like I know this. But sometimes I'm right. Sometimes I'm wrong. Sometimes Donna's back. Sometimes I'm in the Black Lodge." Audrey jumps as she now sees an old easy chair. The Man From Another Place wriggles backwards from behind the old chair. MAN FROM ANOTHER PLACE (backwards speak): "You are ... not who ... you say ... you are. ... Are you .. say you ... who not ... are you?" AUDREY (Audreytalk): "Shut up, go away!" MAN FROM ANOTHER PLACE (backwards speak): "You will be here forever." The little man sits in the chair. AUDREY (Audreytalk): "I feel like I've been kidnaped before, but sometimes my leg... Stop making me say that!" MAN FROM ANOTHER PLACE (backwards speak): "I've got great news! Your friends have more friends!" Audrey again startles as she sees the Waiter, and the polished silver platter he lofts. On the platter: a cube of caramel toffee and a full syringe of black liquid. WAITER/JERARD (backwards speak): "Toffee? Toffee?" A few steps. WAITER/JERARD (backwards speak): "Toffee? Toffee?" AUDREY (Audreytalk): "Jerard? Are you Jerard Renault?" Audrey screams as: JEAN RENAULT (backwards speak): "Le café est sucré, mais le caramel est plus sucré, n'est-ce pas?" Caption translation: 'Coffee is sweet, but toffee is sweeter, isn't it?'. Audrey screams as Bob darts out from behind chair. BOB (backwards speak): "She can't have Cooper! Cooper is mine! My Cooper!" AUDREY (Audreytalk): "I know you! Your name is Bob." BOB: "She can not know my name!" TREMOND (backwards speak): "Take your medicine, or they'll serve you hospital food!" WOODSMAN/GREYSON: "Electricity!" ELECTRICIAN (backwards speak): "Monkey." HEIDI (backwards speak): "I couldn't get my owl started." ROUNDTREE (backwards speak): "Annie." Bob reels on Roundtree. BOB (backwards speak): "Sarah's next, bitch!" AUDREY: "Sarah!" Audrey closes her eyes, a calmness conquering her terror. Blend (stock, GARLAND/COOPER/LOG LADY/SARAH VOS) with AUDREY: "Through the brilliance of futures and pasts, the genius longs to see, one sings out between two worlds, light, walk with me." FLASH. Audrey opens her eyes. Audrey is back in Tremond Apartment. JEAN RENAULT (VO, backwards speak): "Le café."

S3:E16: ACT TWO

EXT. DOUBLE R CAFÉ - LATER - ESTABLISHING - DAY

Trees in the neighborhood buffet against the gusts under dull overcast skies. In the parking lot of the Double R, early spring debris and pine needles scurry under the puffs of wind. Bobby sits aboard his Ninja crotch rocket, talking on cell phone. Bobby pulls up the collar of his leather jacket.

INT. DOUBLE R CAFÉ - DAY

Norma and Shelly smile broadly. They stand behind the counter with Irene Robertson from Hap's Diner. IRENE: "I worked at Hap's Diner for 30 years. I know my way around a diner." NORMA: "What made you move to Twin Peaks?" IRENE: "All the buzz, really. Bigger town. Bigger tips. Deer Meadow is just not what it used to be." Irene looks to the café's front door. Bobby enters, yawns. He saunters around the café bar, drumbeats with his fingers on counter, then saunters toward the back, and sits in the farthest corner's booth. Shelly smiles and moves to Bobby. Norma smiles. Shelly rubs her tummy and apron. Irene watches Shelly join Bobby. SHELLY: "Why aren't you asleep, Mister?" BOBBY: "Two more night shifts and it won't make any difference, Baby." Bobby takes menu, and looks up to Shelly's grinning bright smile. BOBBY: "What?" SHELLY: "Coffee?" BOBBY: "Yeah black, bottom of the pot." Shelly exits toward coffee pots. Norma and Irene pass by close, on other side of ice cream makers. Bobby blankly looks at menu. NORMA (OS): "We provide an immense variety of milkshakes and malts, espressos and lattés. We like to say 'We don't just have Specials, because everything is special.'" Irene giggles. IRENE (OS): "My word, wow! You know what I told folks at Hap's for 30 years? 'You want to know today's Special? We ain't got none.'" NORMA (OS): "That sounds sad, Irene." Bobby pages through menu over and over. Bobby furls his brow. NORMA (OS): "Are you okay, Irene?" Bobby turns his head. IRENE (OS): "It just reminds me of the tragedy." NORMA (OS): "Theresa Banks?" IRENE (OS): "And the others." NORMA (OS): "The others?" IRENE (OS): "The missing. You remember the papers, our FBI man, slick as a rainbow trout, Special Agent Chester Desmond?" Norma nods. NORMA (OS): "Like our friendly Agent Cooper." IRENE (OS): "And one of our Deputies, Sheriff Cliff Howard. (whispers) They say he was involved with bringing cocaine right here to Twin Peaks. He disappeared around the same time your Laura died." Bobby looks horrified.

FLASHBACK BOBBY (EXT. WOODS - NIGHT)

In the woods we see Laura with Bobby and Cliff. Cliff draws gun. Bobby shoots Cliff in the shoulder. In the chest. Laura screams. Cliff falls. In the back of the head. Laura screams. 1991 LAURA: "Oh my God!" Laura gasps. 1991 LAURA: "Oh my God! Bobby what'd you do!?"

BACK TO CAFÉ

Bobby gasps. Shelly returns to Bobby. Bobby has started to sweat. SHELLY: "Baby, what's wrong?" BOBBY: "I got to get out of here." Bobby almost rushes past Shelly, who closes her eyes and puckers, and waits for a kiss. She opens her eyes only to hear the exit bell of the Double R's front door.

EXT. DOUBLE R CAFÉ - CONTINUOUS

Bobby exits, stops, breathes. Grabs his knees, puffs. He looks up to be startled by Garland. BOBBY: "Dad? Dad!?" GARLAND: "Yes, son? Today, your quest enters its final stage. By my lengthy observations, diverse elements coalesce. You will remember my vision of many years ago-" BOBBY: "Dad, I really can't handle another one of your lectures or visions." Garland has a chuckle. GARLAND: "Not your Father's vision, your Mother's." Bobby turns around to see Betty. BETTY: "Better to ask me now, Bobby." Bobby scrambles his hair like his brain is going to explode. BOBBY: "Mom, listen ... I got to see Jacoby!" Bobby breathes. BOBBY: "I got to see him. I got to do what I got to do. I got to see Jacoby before my f*cking head explodes!" Garland slaps Bobby. Bobby flabbergasted. GARLAND: "Now son, as with many male familial relationships and friendships, the use of vulgarity may at times be apropos, but I have specifically asked you never to talk that way in front of your Mother." Bobby is swirling in emotion. He carefully grabs a smoke and lights up. Garland maintains, but just barely. BOBBY: "Sorry, Mom." Bobby's hand shakes lighting the cigarette. Betty holds Bobby's hand still. Bobby melts in his mother's loving hold. Bobby lights up and moves to his nearby crotch rocket. Betty turns to Garland. Crotch rocket revs and rumbles. Peels out. BETTY: "I forbid you to strike our son again." Garland hangs his head. As Bobby's motorcycle disappears into distance, Garland and Betty enter Double R. Cooper enters right behind them.

INT. DOUBLE R CAFÉ - CONTINUOUS

Cooper stops at entrance, watching Garland and Betty take a seat next to each other in a booth. COOPER: "Norma, do your records on Meals on Wheels go back at least 27 years?" NORMA: "Hello, Agent Cooper, please have a seat." Cooper raises his salute. NORMA: "Then at least lower your voice." Cooper approaches counter. Cooper stares over to the shaken Garland and Betty. COOPER: "...I apologize, Mrs. Hurley, my schedule..." NORMA: "Yes, but it's all computerized." COOPER: "Aces!" Norma brings up records on tablet and hands it to Cooper. Cooper taps Norma's tablet. COOPER: "Lilith Michelle Tremond. Lilith Tremond. She moved here from Dear Meadow." IRENE: "Deer Meadow?" Cooper nods. COOPER: "No previous address in Deer Meadow, though." Cooper taps screen. COOPER: "This image of her original application. This slip was not filled out by the Marabeth Lorelei Tremond. I recall her handwriting. Lilith was an imposter discovered by Donna Hayward. This Creamed Corn Lady only received Meals on Wheels for 30 days?" NORMA: "Sometimes they get better, but I feel like I need to get back to my customers." IRENE: "Creamed corn?"

EXT. PALMER HOUSE & LAURA'S WINDOW - LATER - DAY

Although Laura's window is small, we see through it to the open door to Laura's room.

INT. PALMER HOUSE - LAURA'S ROOM & STAIRS - DAY (CGI)

The immaculately preserved room. On the wall, the picture frame picture of the centenarian imposter, Lilith Tremond. Reflecting in the glass of strange picture: the top of the stairs outside Laura's door and the patched and repainted wall where once the ceiling fan control box hung. Moving into the picture's glass reflection, impossibly, we follow down the stairs and around the corner to a reflection of living room. END CGI for:

INT. LIVING ROOM - CONTINUOUS

Two cups of black coffee steam on coffee table. Jacoby holds Sarah's hands. DOC JACOBY: "Now Sarah, you've overcome your fear of the ceiling fan..." Sarah looks to stairs. DOC JACOBY: "So now it's time to take ownership. Where are we shopping first?" Sarah smiles. SARAH: "The General. I know they carry Silent Whispers." DOC JACOBY: "Nadine's socks for the ceiling fan blades? Brava, Sarah, brava!" Jacoby helps Sarah up. They walk to front door. Sarah pauses at security keypad. Jacoby dons his red blue sunglasses. Seeing Sarah wait at keypad: JACOBY: "Of course, Sarah." Jacoby exits. She waits for Jacoby to walk half way to his vehicle. Sarah looks around, her eyes darting. She presses the keypad. Sarah exits. Keypad reads green 'AWAY'.

EXT. TWIN PEAKS SKY & ASYLUM & PARKING LOT - LATER - DAY

Far below, Beth sits in an open courtyard. Beth looks around, her eyes darting. She turns her head to Cooper's black Q5 parked outside courtyard's fence.

INT. ASYLUM - DAYROOM - DAY

In background, Annie sits at a small round table, hands in her lap. Three tiny almost shot-glass sized paper cups with red punch sit before her. Albert stands with Cooper, and stows his cell phone. ALBERT: "That was Sam. Martell's 1929 Phantom was tested. It was not wiped down, and does not test positive for the same marker chemical solvent as Juliette Renault's Maroon PT cruiser nor Leo Johnson's Black Trans Am." Cooper sighs. COOPER: "I was positive we would find something today." ALBERT: "The day's still young, Coop." Albert gestures and he and Cooper move toward Annie. She smiles in distance. COOPER: "Albert, its 25 years later, but I still feel dizzy in her presence." ALBERT: "You know, dizziness is a symptom of brain abnormality." Albert smiles. COOPER: "Albert, are you joking?" ALBERT: "No, I'm Roundtree, remember?" Albert grins. Two orderlies push Gerard's gurney through the dayroom toward his room. Gerard unconscious, but his left eye is slightly open, showing only the sclera. His left amputee stump twitches. Cooper and Albert arrive at Annie's table. ANNIE: "Thank you for escorting Phillip back to the home." COOPER: "Annie, I am perplexed at the meaning of all this." ANNIE: "Don't be, Dale. You are on the right path. It does not mean that path will be clear to you. I can help you, though. I have never spoken of it, because I've never been sure if it was real. Windom Earle placed a jade ring on my finger before you and I left the Black Lodge together. But that really wasn't you. Beatrice Roundtree stole the ring from me. Bob's days in the Cooper-shell ended." Cooper furls his brow. ANNIE: "That's what I call your duplicate, Cooper-shell." COOPER: "What does it mean, Annie?" ANNIE: "Dale, God sets rules for the power of evil. The ring caused evil in Beatrice. Perhaps God does not permit both the evil of the ring and these strange apparition-demons to coexist in these end times. But now I'm speculating in eschatology. Hear the other side, see the other side." Albert sighs, regards his watch. ANNIE: "Evil exists because we allow it to exist. Way back then, you told me the Giant appeared to you and mouthed the words not to kiss me. We both fell, Dale. I fell in love with the world, and you. But love is also set under God's rule. Fornication is not God's rule, Dale." Albert drops his jaw. ANNIE: "Sin only leads to darkness, pain, and anguish." COOPER: "I know. I felt it then as I felt it with Caroline." Albert lifts a punch cup, regards its contents, sets it back down. COOPER: "Thank you, Miss Blackburn." Cooper quaffs the punch like a shot of booze. ANNIE: "Anytime, Dale." Albert and Cooper move toward exit.

EXT. ASYLUM & PARKING LOT - MOMENTS LATER - DAY

Cooper regards Beth sitting in the distance, behind the fence. Albert belts out laughing. ALBERT: "It's like this, Coop. You can't codify crazy. Take all the possible thoughts a person can possibly imagine, twist it until up is down left is right, right is wrong is anything you want it to be, crazy. Now combine that crazy mind and thoughts with another crazy person times all the people in Twin Peaks, but not good enough, I tell you, now add everyone whose ever lived here, ghosts if you will, all just as equally bonkers, nothing makes sense, plus beings from who cares where that manipulate it all, including inside whatever sane minds remain, so everyone everywhere is sh*tsoaked bugbrained insane." COOPER: "Albert!" ALBERT: "Why is there an asylum on the hill? All of Twin Peaks is an asylum, this bubble on the hill should be the sane place. That would really just about match the ratio of crazy to sane in this town." COOPER: "Albert. Joshua Palmer, Leland's maternal grandfather, brought the family here 100 years ago on Saturday. Leland's paternal Grandfather, Robert Palmer may be Bob. Yes, Albert! Both his grandfathers had the same last name. I think it's a clue, but I will not speculate. That is why no records exist for Robertson. 100 years ago. The strange name thing. Bartholomew! A different Mike and a different Bob. Sarah Palmer's pictures of the two, Joshua Palmer and Robert Palmer. Robert Palmer is our man. Or was our man. Whatever is left of a man. I cannot divine why they would possibly have the same last name..." ALBERT: "Another piece of the puzzle? You know, Cooper, you have more puzzle pieces than you have connections. Just because you shovel on more theories, it doesn't make any of this sh*tstorm any less of an insanitarium." Cooper regards Beth. COOPER: "Albert, Hawk and Raven are up at Pearl Lakes. The name in the darkness. We may start to see the light at the end of not one, but many tunnels." Albert gestures to the Asylum's rounded walls. ALBERT: "Spoken like a true inhabitant." Cooper turns Albert to see Beth, who has stood in the courtyard, arms out, turning slowly like a helicopter or ceiling fan. Cooper gives a big thumbs up. ALBERT: "Insanitarium."

EXT. ONE EYED JACKS & DOCKS - LATER - LATE DAY

The yacht, ' _Château Promenade_ ,' is docked and rocks in the turgid waters.

INT. ONE EYED JACKS - LATE DAY - POOL ROOM (CGI)

Unoccupied pool tables stand before a closed bar in the low lit lounge and game room. The light from two identical video slot machines flash in the dimness. The 'Cherry Lightning' games show videos of single stemmed cherries electrically popping into hanging cherry clusters popping into golden cherry clusters. The video lights the face of Carl Rodd, dressed in tuxedo. Caption, 'AND INTRODUCING CARL RODD AS LORD CARD' in spectacularly refracting dark galactic cherries. CARL RODD AS LORD CARD: "You see, I can do things. I've done them before." Carl flutters an entire deck of cards into the air, all the spades and clubs flying by us. CARL RODD AS LORD CARD: "Smoke." The hearts and diamonds flutter by. CARL RODD AS LORD CARD: "Fire." Then an entire tarot deck. CARL RODD AS LORD CARD: "Darkness." Cards fly to a huge grid of 64 chess boards, totaling 4096 squares. The cards form into 'letters' as they gather, paste, and align themselves onto the huge chess grid, forming letters: 'PINK SWEAT'. The cards transform into spectacularly refracting dark galactic mirrors, reflecting Carl.

EXT. BRENNAN HOUSE - LATE DAY

The single story cabin like house rests under budding sweet cherry trees. The branches and deep glossy green leaves jostle in the breeze. In one window, the unmistakable gold cage of Waldo glints in the diminished sun. Waldo hops off his perch.

INT. BRENNAN HOUSE - LIVING ROOM - LATE DAY

Waldo eating fruit in front of open window. ANDY: Shut the window, Lucy, it's going to make Waldo sick again." LUCY: "Like I said, Andy, sweetie, we need the light." Andy frowns. WALDO: "Better to seek Betty." LUCY: "Hush!" LUCY: "B?" Lucy turns to Abigail Brennan, Abby. Abby, 25, wears a bright white floral summer dress. Her hair coiffed over her head in a explosion of blond curls and tresses splaying out like a waterfall over her smiling visage. Died streaks of lavender trail down among the curls. Only her bangs hang free, belying a strange moused 'Andy' cowlick. LUCY: "Precious? We have to finish this." ABBY: "Okay, Mom. Daddy?" ANDY: "Yes, Precious." Abby holds up a cell phone, filming. ABBY: "Is Waldo going to be okay?" The three look to Waldo. LUCY: "Waldo freaked out because there was an owl out there." The three stare out the window.

PINK SWEAT'S BRENNAN LIVING ROOM - CELL PHONE CAMERA - LATE DAY (CGI)

Lucy, Abby, and Waldo blink out of existence for Carl Morton, Gwen and baby boy twins blinking into existence. Carl holds his twin boys arm in arm. CARL MORTON: "This is Nathaniel..." The bubbly dark curled babe. CARL MORTON: "...and this is Oglesbee." The less cute twin, a wispy headed dead white sickly curse, one eye open, blubbering drool and looking like a freakshow attraction. Carl busts out laughing, gasping for air. CARL MORTON: "Just kidding folks, his name is Orpheus." Carl laughs. CARL MORTON: "What can you do? CGI." Carl tickles Orpheus. Orpheus coos. CARL MORTON: "Isn't that right, my special little guy?" Carl chuckles. CARL MORTON: "Orpheus means darkness." Carl wheezes. An odd triangular shadow passes over the room, the same shadow that passed on the other side of the curtains of the Black Lodge.

BACK TO BRENNAN LIVING ROOM

Andy, Lucy, Gwen, Carl, Abby, and the twins are before Lucy's laptop, showing still of Carl holding twins, laughing (above). LUCY: "I think we should film it again, not so silly this time. And I think its too mean to Orpheus." CARL: "Oh, Aunt Lucy, it's all in good fun." GWEN: "Lucy, what did that FBI man say?" Lucy turns to Abby and hangs her head. Andy holds Abby's shoulder. ABBY: "I know who Sheriff Truman is, but who is this Josie?" LUCY: "Precious, you don't have to do anything. Oh, I hate this!" Lucy throws a rubber ball at Waldo's cage, misses. ABBY: "Mom! Stop!" Andy clicks keyboard to an online version of Twin Peaks Gazette, Obituary search, showing black & white photo of 1991 Josie captioned, 'Jocelyn "Josie" Packard.' Abby leans in. ABBY: "She's dead? But I saw her! I saw her on my flight here." Andy begins weeping. Lucy holds Andy. Tears also well in Lucy's eyes. ABBY: "Mom? Dad? What's happening?" Nathaniel reaches up to Abby and a stray lock of lavender.

INT. DOUGLAS FIR ROOM

Josie sits before a mirror, applying fire engine red lipstick with a wand. The multiple hanging chandeliers from far above flicker slightly like real flames, or perhaps electrical shorts, giving her ravishing aspect an eerie surreal glowing flux. JOSIE: "Oh, Harry, I know this hasn't been easy." Harry gestures to the odd circular room. HARRY: "Why all this ... craziness? Josie, why did you weigh only 65 pounds when you died?" Josie motions to the mirror. JOSIE: "Oh, Harry, my Harry, I've only been half there for you, half there for me. I want to be all your Josie again, but I can't." HARRY: "Why?" JOSIE: "There can only be one." Harry turns Josie from the mirror and she becomes transubstantial. Harry astonished. Josie looks at her transubstantial form and turns back to the mirror, becoming substantial again. HARRY: "Josie, where is your corpse?" Josie looks down, smiling. JOSIE: "Harry, there is no corpse. There never was. There is no flesh. There is no shore." Harry joins her in the mirror, staring. Face by face, she smiles, he longs. JOSIE: "You're going to love her, Harry." HARRY: "I love _you_." Josie puts the wand away. JOSIE: "Oh, Harry, I hope you can believe me. I had to do it backwards, Harry. Trust me, Harry. They made me. How do you say it? Shananagones?" HARRY: "Shenanigans?" JOSIE: "I will remind you these crimes occurred at night." Harry turns her again into transubstantiality. HARRY: "You sound like Cooper." Josie fades more and more. JOSIE: "I am Josie, the Once Dead Woman." More and more. HARRY: "Josie, don't go. Tell me what it means!?" Josie attempts to turn to the mirror, Harry prevents her. HARRY: "Answer me!" JOSIE: "Catherine, Benjamin. I stand between the two." Josie's almost gone. HARRY: "No..." JOSIE: "Just remember, Harry. Remember. Remember, I have been to Tibet." She's gone. Harry's hands, which grasped her, curl in. Harry hangs his head. And transubstantially fades away. The douglas fir room fades to EXT. WOODS - NIGHT. The waving woods fade transubstantially to blackness.

AS IF PINK SWEAT'S CAMERA COVERAGE OF EXT. LYDECKER CLINIC - FLOWER BED - LATER - EVENING

Waving blue pines above the clinic. In the front flower beds, buckets have been placed over fresh plants against the oncoming storm. Green buckets, even when upside-down read 'Keep Twin Peaks Green'. Cell phone? ANGLE zooms to windows of Clinic. Shadow from one window: a hawk on someone's arm, flapping. Wobbling BLUR CUT to:

INT. LYDECKER CLINIC - WAITING ROOM & HYPOXIC CHAMBER - EVENING

Inside the busy waiting room, a newly installed sealed glass reception room. Inside the Hypoxic Chamber sits Midge Loomer, the Centenarian Lydecker clinic hostess. Cooper and Andy smile, waiting for Midge to look up from paperwork. Cooper examines the label on the window, 'Hypoxic Chamber' 'Warning' 'No Flames' 'No Smoking' 'Electronics Prohibited'. MIDGE LOOMER: "I been looking after folks' animals for 75 years. 75 years. So they built me this cage, really quick, lickety split, when I heard all's everybody's pets gone haywire." Cooper intrigued. Andy dumbstruck, looking about Midge's cage. Midge laughs. MIDGE LOOMER: "I call it a cage, but it's all glassed in, so as to not get my allergies a going, you see, I'm a hundred and one. They want me to help out, they build me my own cage. I make the rules. 'There's no doggies, ducks, or drakes'." Cooper stares oddly. COOPER: "Coffee?" ANDY: "I'll get you some, Agent Cooper." Cooper answers cell phone. COOPER: "Hello, Major Briggs! ... Why do I need to see Doctor Jacoby, Major? ... Major? ... Hello?" Cooper examines his cell phone. He looks up to see Gersten, a strange cubical animal corpse box with a blank medical label: 'Biohazzard?' 'Pet's Name' 'Owner' 'Incineration?' 'Retrieval?' 'Postmortem?' 'Lab?' 'DOD' 'Date of Retrieval'. Midge turns to Harriet. MIDGE LOOMER: "The Michael cat?" Harriet nods. HARRIET: "Sheriff Jeffrey Michael's. After we're done, Agent Cooper, could you take the remains to the Sheriff's Station? Jeff is taking over for Bobby as the night shift Supervisor, and he said his schedule these last two weeks has just prevented him doing all sorts of things. He'd appreciate it." Andy looks at the box. He looks down, the slightest sparkle of a reflected tear. COOPER: "Certainly, Doctor. Andy? Would you do the honors?" Andy takes the box, nodding, lachrymose.

EXT. GREAT NORTHERN & DOCKS & BLACK LAKE - EVENING

Just above the trembling waters, in the extreme distance, the ' _Château Promenade_ ' steers toward the Great Northern. Near the water's edge, lapping up to the wooden posts of the dock, the lake waters splash. Splashity splash splash. Splash.

INT. GREAT NORTHERN - GRAND BALLROOM - EVENING

The high windowed expansive room is redressed as lounge. Major Briggs, a Twin Peaks Gazette neatly folded under his arm, stares out the two story bay windows to Black Lake and docks below. Guests enjoy the bright but overcast day. BEN (OS): "Major Briggs?" Garland smiles, removes his paper, slaps it against his hand, and turns to Benjamin. GARLAND: "Snow. It seems winter's darkness has one more breath." Ben smiles awkwardly. BEN: "Yes, a white wedding." GARLAND: "Many auspicious blessings of the day on your daughter's pending nuptials." BEN: "Something tells me you are not here to discuss Donna and James, Major." GARLAND: "Robert's retirement..." Garland has a uncharacteristic loss for words. Ben notices. BEN: "Bobby will be fine. According to my estimates, Pink Sweat has made our fine son a millionaire." Garland looks down. GARLAND: "Although perhaps materially sound, Robert is far from secure, Benjamin. The reckoning." BEN: "Dear Lord, Major, can we not discuss the boy in terms of the Legacy Court? These strange ways of the woods could derail his ascent into financial security." Ben pauses. BEN: "Now, let us discuss the business at hand. The Observatory. Horne Observatory, built to your rather brilliant, if not elaborate, specifications, but built with my. Brilliant. Gold. Coins. And do in no small part to Bobby's chatoyant business acumen..." GARLAND: "Let us be plain, Benjamin." BEN: "Now, Major, in the past, I have more than welcomed our esteemed Air Force's rentals and needlessly secretive use of our facility, but a coin is a coin, and I make more of them renting the Observatory in bits of bits of coins on Pink Sweat. So I am afraid..." GARLAND: "Are you threatening me, Benjamin?" BEN: "No, no, no. Far from it. I figure, from certain projections, the Air Force can become a bigger partner, that is to say, with added equipment, we here at Horne Industries hope to expand capability, use, and especially traffic on the stars above, and that spinning dynamo at the Earth's core that keeps us all in business. Sharing. Synonymous." GARLAND: "Perhaps, Benjamin. But this is about Bobby." BEN: "Indeed. (whispers) And Aubrey." GARLAND: "Aubrey Horne. How is our grandson?" BEN: "Aubrey! Why Bobby and Audrey would choose such a weird name for a child is beyond me. Aubrey simply despises Twin Peaks." GARLAND: "He inherited Robert's rebelliousness." BEN: "And Audrey's tenacity." They both smile. Ben takes Garland's shoulder and turns him back to the window. They both stare out. GARLAND: "It's strange, Benjamin. Doctor Jacoby." Ben rolls his eyes. BEN: "Doctor Jacoby. Family Fun Time." GARLAND: "Bobby is with the good Doctor right now. Jacoby has done so much, for Bobby. But Aubrey... Our impenetrable heir." BEN: "Aubrey is still young." GARLAND: "Indeed, with all its folly." Garland stows his paper. GARLAND: "You will be attending Robert's retirement party?" BEN: "Wouldn't miss it." GARLAND: "And Aubrey, will he be coming home to his Father's retirement or his Aunt's wedding?" Ben places his hand on the cold glass window, a hand print of steam forming. BEN: "No and no." Garland places his hand on another pane. GARLAND: "The Reckoning. The Grand Palazzo." The two take their hands away from window and face each other.

EXT. PACKARD TOWER - EVENING

The top of the tower slightly occluded in mellow drifting low lying cloud. In the far distance, the ' _Château Promenade_ ' steers toward Great Northern.

EXT. MARTELL'S TIMBER FALLS MOTEL - EVENING

A taxi is parked outside the utilitarian motel, flower beds with dried skeletons of last year's plants.

INT. MARTELL'S TIMBER FALLS MOTEL - PALMER ROOM - EVENING

In the two twin bed room, suitcases on the made beds. Slightly garish flower bedspreads with inauthentic nondescript 'flowers'. Daniel stands before Lela and Aurora, his hands pleading. Both twins have their arms crossed. DANIEL: "We can't afford to stay at the Great Northern because you two are not making enough money! It's settled, we are going up to Pearl Lakes. I won a boat tour! You can still broadcast from there, they have cell towers and wi-fi and everything." Lela picks up a cheap mint from tray. LELA: "Does the cabin even have electricity?" DANIEL: "Oh it'll have electricity, alright. Come on, it'll be a hoot." AURORA: "You keep saying that, and it never is." Lela flicks the mint into a waste paper basket. DANIEL: "Listen girls, we were run out of town. But you can rent a boat and motor your way down to Twin Peaks and back anytime you want." Daniel shows two 'Dock Permits' to Great Northern. DANIEL: "Meanwhile, uncle Dan is going to get us back on top. You can dance to that tune, can't you?" Girls nod. DANIEL: "That's my girls, naughty, but nice." Daniel looks at a frayed corner of the bedspread. DANIEL: "F*cking Great Northern! This place is a curse!"

EXT. GREAT NORTHERN - GRAND BALLROOM WINDOWS - EVENING

We see a tiny Garland in the windows, staring out.

INT. GREAT NORTHERN - GRAND FOYER - EVENING

An immaculately dressed woman in her seventies approaches the check-in counter. WOMAN: "Theodora Ridgely to see Catherine Martell." An African-American hotel employee's name tag reads 'LOUIE 'BIRDSONG' BUDWAY' 'CONCIERGE'. LOUIE: "Mrs. Ridgely! Yes! Wonderful! This way, Mrs. Ridgely." Theodora follows Louie to:

INT. TIMBER ROOM DINING ROOM & BAR - LATER - NIGHT

Theodora sits with Catherine, whose long white fox furs covers her Sheriff's ankle bracelet. THEODORA: "Who's Annie?" CATHERINE: "Annabelle Blackburn? She's that suicidal cloistered nun, who gave her virginity to Dale Cooper of the Federal Bureau of Shenanigans." Both ladies chuckle. CATHERINE: "Rumors say he saw his mystical morality 'giant' that very night, and he did it anyway. Can you imagine the depraved sort of mind that would prey upon a deranged, suicidal girl new to Twin Peaks, woo her most wickedly into his secret chambers, and then violate God and human decency?" Both ladies snicker. Catherine sips her champagne. Catherine leans in to Theodora. CATHERINE: "Every word of it is true, Theodora." BEN (OS): "Catherine!" Ladies jump. BEN: "It has been far too long since we have spoken." He offers a hand, Catherine places her hand in his. Ben kisses her hand. He offers a hand toward Theodora, and she recoils, turning her head. BEN: "Theodora. ... Which of you lovely ladies is wearing that intoxicating scent?" THEODORA: "You should know, Benjamin, it's from your perfume counter." Cat and Sylvia enter. SYLVIA: "Feeding the natives, Benjamin?" Cat and Sylvia giggle. Theodora incensed and stands. Ben slides into Theodora's seat. THEODORA: "Hmpf!" Theodora exits. Cat and Sylvia move toward bar and take seats, Sylvia examining the emerald 'All' ring on Sylvia's left pinky. Ben sits with Catherine, alone. BEN: "Catherine, you know they are closing in, it's time to convert our rancor for each other into something, shall we say, more inspiring. Good will. Peace. Love." Catherine surprised. CATHERINE: "Love? From you? You old dog, you're not going to sweet talk me into anything. I know your tricks and I know your treats." BEN: "Catherine, Catherine, Catherine. We've both done such awful, awful things. A new light is donning." CATHERINE: "Benjamin Horne, I've been listening to this song and dance for 50 years! I didn't believe your mincing performance of a moral transformation then, and I certainly don't believe it now!" Catherine shoos Ben as two men enter, one pushing the other in a wheelchair, and both in their late seventies, looking identical, save the one standing looking taller, stronger, the one in the chair looking skinnier and in ill health. CATHERINE: "Pete's old buddies. The twins. Dale and Montana Doolittle." Ben stands and nods to the two. CATHERINE: "Pete would prattle on, (Pete's intonations) 'Their names meant Valley and Mountain. But Dale turned out to be the big one, and Montana, he was just built all wrong." The Doolittles escort Midge Jones. Lawrence Jones, in bartender uniform, joins them, gives Midge a kiss. Catherine strokes her forehead and temple. CATHERINE: "I'm getting a migraine. It's a Pete convention!" LOUDSPEAKER (JULIE VO, feedback): "Day L-." Loudspeaker clears. JULIE (VO, loudspeaker): "Sorry folks, 'Day lake tour special starts in 10 minutes. Call the concierge or just head down to the docks, folks.'" Catherine squints as she kneads her brow and forehead. Ben snaps his fingers and three hotel attendants, including Lawrence, approach. BEN: "Ibuprofen." LAWRENCE: "Yes, sir." Attendants exit in rush. Catherine has a touch of a genuine smile. CATHERINE: "You remembered." BEN: "Shall we dance?" Catherine smiles broader and joins Ben on dance floor. Sylvia, in background, sneers, then whispers in Cat's ear. CATHERINE: "Maybe a little dancing will clear my head." Ben grabs two champagne flutes, offering a fresh bubbly to Catherine. BEN: "To the dance, Catherine, to the dance." Catherine clinks Ben's glass. With her free left hand, Catherine swats the air as if a fly was buzzing around, almost spilling the champagne in her right.

INT. HORNE PRIVATE DINING ROOM - NIGHT

Julie stands with Jerry. Jerry bites his lip, considering. Johnny, in headdress and PJs, methodically bangs his head against a totem pole. JOHNNY (methodically): "Laura, Laura, Laura." Jerry whispers in Julie's ear. JERRY: "Where the f*ck is Jacoby?" Julie shrugs. JERRY: "And where are more of those sinful amuse-bouches?"

EXT. PALMER HOUSE & DRIVEWAY - NIGHT

Jacoby's dayglow green Charger parked out front.

INT. PALMER HOUSE - LIVING ROOM & STAIRS - NIGHT

Standing at the foot of the stairs, Jacoby holds Sarah close, smiling. Joey, in civies, half way up the stairs, watches technicians install a new ceiling fan. Joey looks down staircase to Sarah, who stares up, holding a knuckle to her silent lips. JOEY: "Sarah, it's the quietest model the General sells." SNAP. Sarah turns her head. She alone seems to hear fingers snap.

INTS. DOUGLAS FIR ROOM & HARRY'S OFFICE - NIGHT (CGI)

Both locations simultaneously overlapping freakishly. Every piece of the furniture is exactly arranged so as to be double but unique to each location. Harry sits at his desk, staring forward. Josie sits in front of Harry's desk. Their voices seem only half there. HARRY: "I thought you said 'this is goodbye.'" JOSIE: "Oh Harry, remember this?" Josie holds out her hand ala Laura's snap in the Black Lodge and Ronette's snap in Easter Park and Cooper's snap in Interrogation Observation.

FREEZE FRAME - EXTREME CLOSE UP - JOSIE'S SNAP (CGI)

Showing origin of snap. Her thumbnail and middle finger nail, Harry frozen in the blurred background. Extreme slow motion. Overlaid during the snap, two additional images. First, an anatomical depiction of the nails, bones, flesh, sinew, blood vessels, neurons, but drawn half Da Vinci half Native American on deer hide. Second image, a multiplying ripple of three dimensional sound bubbles exiting the precise anatomical nexus of sound production. SLOW MOTION. The length of the snap equals the time it takes to (fourth overlay): INT. BLACK LODGE - THE PAST - STOCK. Windom uppercut stabs Cooper. End overlays for:

DOUGLAS FIR ROOM

Josie snaps her fingers. Harry grabs his stomach, doubles up. JOSIE: "Oh, Harry, this isn't going to be easy. Remember and forever."

INT. JACOBY BUNGALOW - LAURAROOM - CONCURRENT - NIGHT (CGI)

Sound of Josie's snap in the Douglas Fir Room as: Eolani clicks the light on. James and Donna stand with Eolani, wide-eyed astonished. James looks to Donna, who holds her left arm. Donna looks down and is almost surprised she is holding it. The Lauraroom resembles a serial killer's or perhaps detective's red yarn connected diorama collage with Laura memorabilia. Hundreds of tiny pictures of people surround Laura, interlaced in string webbed with red yarn. Dayglow sticky notes of every shade. Strangely, the lines of yarn, although emanating from pictures and memorabilia of Laura at its center, most lines head toward Donna, whose closest pictures and notes surround James, in a triad of Laura-Donna-James. Overlaying the chaos on nonsensical relationships, Finley's Fine Twine and Rosy's Red Rope. Most strange, a spherical fist-sized projector of red and white laser lights makes the room three dimensional in its connections. EOLANI: "He must never know you were in here. I am not allowed in here. He does not show me what it means. I want it all gone. This is wrong. I'm afraid of it." Eolani waves her hand over the spherical laser emitter. EOLANI: "And I'm afraid for you, Donna." Donna touches the photo of Laura. EOLANI: "I feel like I am his number two wife. This room is his first." James astonished staring around. James looks at Jacoby's open coconut and dozens of separated hearts of gold necklace pendants which hang from it, and from strings and yarn latticing the bizarre alcove. Donna stares at a tiny 1991 driver's license picture of Jacoby, near Laura, it's face crossed out in red ink. In the myriad of pictures, notable pictures upside-down: Donna, James, Garland, Shelly, Margaret Lanterman, Gerard, Annie, Raven, Harriet. Nadine's picture, oddly perfectly balanced and centered with a push pin, wobbles with the slightest movement or breath of the three.

INT. TWIN PEAKS ASYLUM - STOCK AND NEW FOOTAGE - DAY (CGI)

Nadine's sparkling chestnut eyes. Closer to reflection in Nadine's healed eye: the window panes midst red tangles and tangerine ripples midst amber sunrise past douglas firs, the far off Packard Tower, half gold half black. And the reflection in the window panes of Nadine's smiling, glowing visage. _Nadine turns toward us. NADINE (VO): "I am the One Eyed Woman." Nadine's left healed chestnut eye shows sound wave ripples of her voice, syncopated to her words in CGI perfect timing. Some of these ripples cause her eye to look, in barest glimpses: cataract-Black Lodge, bloody wounded, cataract/scarred, Phillip Jeffries-like, but mostly sparkling. Golden chestnut red sparkling._

INT. CALHOUN MEMORIAL HOSPITAL - CORRIDOR - NIGHT

Cooper and Albert walk down corridor toward Nadine's room. ALBERT: "Remind me again why we are here?" Cooper regards his watch. COOPER: "I believe Nadine has a clue. Inhabited by Pete Martell at times, like Bob inhabited Leland Palmer. Bob, who seems to occasionally inhabit Leo Johnson." Cooper watches a nurse with a covered medical tray walk by. COOPER: "Albert, my experiments have not yielded the results I would have hoped for. But Albert, I have the strangest perception that I belong at the hospital right now. The reason, unfathomable." Albert grins. ALBERT: "Unfathomable? Like when you bought the Black Lodge?" COOPER: "Albert, the reason I do not remember purchasing the Black Lodge is because I did not. When, what the little man calls the 'doppelganger' of myself returned with Annie all those years ago, my real self was trapped in the Lodge. You will remember, I smashed my head into the mirror of the bathroom of room 315. I then purchased this land, and disappeared for 25 years. I now believe this doppelganger purchased the land for the Black Lodge's own insidious reasons. When nurse Beatrice Roundtree removed the ring from Annie, the doppelganger was no more." ALBERT: "Why does the Black Lodge care about Annie, 25 years later? I mean, who's this Annie supposed to be to them?" COOPER: "Who's Annie? Albert, I believe Annie is hope. And I believe the Black Lodge despises it, just as they despised the strength of Laura." Albert stops Cooper. ALBERT: "One snag, Coop." COOPER: "Yes, Albert?" Albert grins, gesturing to Nadine's room. ALBERT: "Miracle-eyed Superheroine, clinically insane, 6 year old murderess, comatose Nadine is going to help us solve anything?" They arrive at the door to Nadine's room. COOPER: "Albert, my methodology has been in error because my knowledge is in error because the Black Lodge has chosen to obfuscate so many truths. The astral travel was perplexing..." Cooper stares down hallway. COOPER: "However..." ALBERT: "Yes?" Albert furls his brow, then stares where Cooper stares. Albert reaches into his suit jacket pocket. ALBERT: "However? Coop? Cooper?" Cooper enters Nadine's room. Albert follows.

INT. NADINE'S ROOM - CONTINUOUS (CGI)

Cooper strides a few steps forward and stops short, a pace or two away from Nadine's calm sleeping exterior. Cooper winks. COOPER: "Albert, I believe I am having a vision, and though its sounds and sights are not available to me yet, I am nonetheless able to communicate with you. Wholly strange, even to me." Albert frowns. ALBERT: "Marvelous." Cooper smiles. ALBERT: "What? No thumbs up?" Cooper's stare distant, his voice odd. COOPER: "Laura, please keep Albert quiet." Albert has a strangest tiniest little freakout and composes himself. Albert regards Nadine's red tresses in a mess of sweat. ALBERT: "Coop, I don't want this-" LAURA (VO, backwards speak, stock, screaming): "MEANWHILE!" Albert's face grows motionless, with twinges of recognizable Albertisms. Cooper does not notice, but stares at Nadine. Cooper winks. COOPER: "Albert, I put it to you, Nadine is seated up, unrestrained, smiling and awake, lucid. I would describe her as having sparkling chestnut eyes, but sometimes my words will not be my own." Indeed, we now see two Nadines, as once there were two Eileens when Sarah feinted. One Nadine asleep, one sitting up awake. NADINE: "Hi, Agent Cooper!" COOPER: Hello, Nadine. What is your last name?" NADINE: "I have three last names, silly." COOPER: "Nadine has looked down, and is fiddling with her fingers. Nadine, what is your current last name?" Nadine claps. NADINE: "Nelson!" Cooper smiles. COOPER: "How old are you?" NADINE: "A girl never tells her age, but if I was that Judy, I'd just blurt out 60! You were there, Agent Cooper, when I blurted out I was 35, 25 years ago. But you weren't really there, were you, you silly boy. But know what happens next?" Nadine hides her shy smile. COOPER: "I was not at that incident, though I have knowledge of the schism in your life. Albert, she is staring up to me blankly. Nadine, did you murder Beatrice Roundtree with Big Ed's gun?" NADINE: "He did." COOPER: "Who is he?" NADINE: "Sometimes I feel like I know him, but other times, he seems all backwards, flying around." Albert swats the air as if a fly was buzzing around. NADINE: "Want to know what happens next?" Cooper leans in. COOPER: "I want to know how you retrieved the gun. How did you run that distance, repeatedly?" NADINE: "I didn't, you silly nilly. My owl brought it to me. She knew just where to look. But then the two-faced man made my owl go elsewhere." NADINE: "Want to know what happens next? That's the future. Do you know what just happened? That's the past." COOPER: "Albert, I believe Nadine is, at this moment, in the grip of the deceitful (backwards speak) Black Lodge." Albert looks at Cooper's stare. NADINE: "Want to know? Mike and I's 25th anniversary!" Nadine claps methodically. 12 times. NADINE: "I'm going to make red cupcakes! 12 dozen! I put little elves on each one. I know Mike thinks they're silly, but he's never teased me nor said an unkind word." A tear runs down her cheek. Nadine cups her hands together and holds them against her cheek like a kitten. She sighs and leans back into the other Nadine and is gone. COOPER: "She was positively glowing, Albert." Albert looks to Cooper. Cooper composes his expression of empathy into one of regret. COOPER: "It's over, Albert." Cooper clears his throat. Albert's tone is gentle. ALBERT: "Cooper, why would Pete, even if he inhabited Nadine Nelson, why would Pete shoot Beatrice Roundtree in the back of the head as she was attempting to murder Annabelle Blackburn with that Grim Reaper's scythe?" COOPER: "3 last names, Albert. Nadine Butler Hurley Nelson. Nadine possessed by Pete, allowing in Bob, allowing in the Little Man From Another Place. Three." ALBERT: "Coop, this is maddening." COOPER: "Albert, I trust Nadine Hurley is of sound mind, and is telling the truth." ALBERT: "Coop, none of this helps us with one iota of evidence." COOPER: "Albert, I have also quite inadvertently stumbled upon an explanation as to why Nadine's drape runners, and now her wings must both be silent. The drapes of the Black Lodge. She fought them even back then. The wings are the owls. She is trying to silence the Black Lodge." Cooper hangs his head. COOPER: "Albert, I need air." Cooper and Albert exit to:

INT. CORRIDOR OUTSIDE NADINE'S ROOM - CONTINUOUS

Cooper hangs his head, uncharacteristically more emotional than he would like. Albert squeezes Cooper's shoulder. Cooper looks up to see Mike staring at the two, worry and anger awash. Cooper moves to Mike immediately and grabs him in a loving deep embrace. Mike is perplexed uncomfortable. COOPER: "She loves you, Mike. And she is strong. She is innocent, Mike, and she loves you." Mike begins to weep, nods. COOPER: "She will get better, Mike, and she loves you more deeply then all the forces arrayed against her." Mike nods, embarrassed in tears. COOPER: "You will not lose her, you will be together again, and you will eat red cupcakes in the sunset and she will tell you she loves you, and you will tell her of your love." Mike is astonished at the mention of cupcakes. Albert too has a gleam of teary eyed, and looks away to comport himself. MIKE: "Thank you ... Agent Cooper." COOPER: "Go to her and tell her. She can hear you." Mike nods and wipes his eyes on his sleeves, exits to Nadine's room. Albert looks at Cooper. COOPER: "Come, Albert, let us celebrate Mike's best friend's retirement!" Cooper withdraws his whittled flute and blows two notes.

EXT. SHERIFF'S STATION - FRONT DOORS - LATER - NIGHT

Cooper and Albert approach doors.

INT. SHERIFF'S STATION - RECEPTION - NIGHT

The entry door sounds and Cooper and Albert enter. Cooper stops at reception. Cooper holds the box remains of Deputy Jeff Michael's cat. He hands it to Cappy. Albert exits to hallway. Norma and Harry look over a platter of hors d'oeuvres. NORMA: "Cappy ordered them. They are really for after school kids. I call them 'little dippers'. A small cup of pie filling you eat with a pie crust stick." HARRY: "Well, Norma, the pies are all that they seem." NORMA: "There's nothing special about the pies." COOPER: "You're wrong, Norma. The pies are special because you are special, Norma. Your bright optimism, your welcoming smile, your winning endeavor. You are in the pies, Norma." Norma smiles big. Norma, Harry, Cooper look into the reception booth and Cappy. He digs in a cherry cup with a pie crust stick stump, muddling his fingers with filling. Cappy looks up. CAPPY: "I know the stick is a spoon, but I keep eating it anyway." Cappy licks his fingers. Cooper winks. Norma exits toward hallway with platter. Door sounds. Irene and Shelly enter with more treats. Irene follows Norma. Shelly stops, breathes, sets a platter of finger sandwiches down. Cappy moves things out of her way. Shelly rubs her stomach. Cooper observes her. COOPER: "You must be excited, Miss McCauley." Shelly almost does a double take. SHELLY: "Oh yes, Bobby's retirement." Cappy moves the book he is reading, _Dugpas, Sorcerers, Alchemists_. HARRY: "Cappy has studied the dugpas for the last 25 years." Shelly puffs out a breath and exits with tray. COOPER: "Exemplary!" HARRY: "He's like a freak about it. I have to remember to ask Pete the next time I see him." Cappy opens the book. CAPPY: "The pages are sticky again." Cooper looks to Harry, who holds his stomach. COOPER: "Too many donuts, Harry?" HARRY: "Something." COOPER: "All things in moderation, Harry." Cappy turns a page of the book to an illustration reminiscent of the Laurites dancing around the tree, save the dugpas standing around an oak in black cloaks. Cappy wipes his fingers. CAPPY: "What does Norma put in these? Glue?" Harry rubs his stomach. COOPER: "Let's get you some bicarbonate." HARRY: "Yeah." Cooper looks back to Cappy. COOPER: "Deputy Peterson, any news from Hawk up at Pearl Lakes?" CAPPY PETERSON: "No, sir." Cooper and Harry exit.

INT. CONFERENCE ROOM - MOMENTS LATER - NIGHT

Cooper enters to see Sam and Albert reviewing a laptop. Cooper has a big thumbs up and wide smile. COOPER: "Sam, Albert, I'm leaving Twin Peaks." ALBERT: "Sounds about right. Wait, what ten things, oops, what twelve things do you mean by that?" Cooper amused. COOPER: "I request to lead a team to Pearl Lakes, and low or high water, I am taking Sarah Palmer, Margaret Lanterman, and plan to lure Daniel Palmer there under the perfect ruse. A boat tour, Albert! It should be boring and relaxing, a chance to reconnect with friends, nature, oneness, Albert. In that oneness, one's mind may clear and conceive of many mantra's. One, and all." ALBERT: "Cuckoo talk, Coop, but that's what Waldo would want me to say. Diane and Lil are already in the field. They can handle Pearl Lakes." Cooper frowns. SAM: "Gordon is on." GORDON (VO): "Gordon, here. Gordon Cole. Good. I'm here. Okay, Sam, why am I here?" SAM: "Let me preface my statement: I ascribe no supernatural meaning to the following: I heard the distinct voice of Former Special Agent Chester Desmond say the following, I quote: 'Special Agent Chester Desmond here. The Blue Rose. Special Agent Samuel Stanley. The Blue Rose.' Unquote." GORDON (VO): "Recorded, Sam?" SAM: "Unfortunately no, Chief." GORDON (VO): "Data, Sam." SAM: "Anecdotally speaking, you're all going to love this. The Others." GORDON (VO): "Sam, hold that thought, I have just been handed a dossier encryption file. That strange pixelation, well we nailed it down. SAM: "Gordon, trust me, I never used the term 'strange pixelation.'" GORDON: "Two signals crossing, almost like brain wave to carrier wave, but more sophisticated. You getting me? We've designated it the 'Othernet'. Sam, get us up to speed." Gordon's monitor experiences strange pixelation. CAPPY (VO, intercom, distortion): "Albert, sorry! Agent ... field! The distor... They're back! It's hap... again! Lucy was ..." ALBERT: "Sam, what's going on?" COOPER: "Someone is returning, or someone is disappearing." ALBERT: "Hold on Sam, like many of Cooper's suppositions that just don't pan out, Gordon, where does this get us?" GORDON: "Our foes can cross signals in a most erratic and nonsensical nature, and hard as hell even to detect on the best video we got. These 'strange pixelations' could be explained away, except for sworn testimony, mine included. Just watch out, gentlemen, because it seems to be targeted at the Bureau. It seems unpredictable, unorthodox, like the Special at the Double R. Sometimes a Ham Steak and mash is right, but if its Thursday, well, I'll just have the pie. A copious mountain of never-ending pies, like in a storybook, Coop." COOPER: "Got it, Gordon!" Albert turns to Cooper. ALBERT: "You understood that?" COOPER: "Yes, sir." ALBERT: "Stop that, Agent." COOPER: "Yes, Albert." GORDON: "Sam, who's this 'Other'?" SAM: "Others, sir. Agents Jeffries and Desmond, sir." GORDON: "Designation?" SAM: "The best I can do, is Desmond ten and Jeffries undesignated." GORDON: "Keep going, Sam, I'm listening." SAM: "Copy that." SAM: "Those signals may indeed be targeted at us, the Bureau. But, they may also be targeted from the Bureau. In the form of Agents Jeffries and Desmond. I heard Chester's voice while examining the audio signal from related footage Agent Cooper wanted me to look into." Sam presses button. On another laptop, next to Gordon's:

A highschool yearbook photo of Laura. FEMALE VOICES (VO, singing): "Dance with Dirty Laura, she touched us all! That's when Dirty Laura began to crawl. Dirty from her grave to the Peaks to dwell. Dirty Laura Palmer, she's back from Hell!"

A highschool yearbook photo of Annie. FEMALE VOICES (VO, singing): "Scream with Dirty Annie, she was a nut. That's when Dirty Annie began to cut. Dirty from her sins that she tried to dodge. Dirty Annie Blackburn, back from the Lodge."

BACK TO CONFERENCE ROOM

GORDON: "Someone's targeting you, Coop. I want names, Gentlemen." COOPER: "Gordon, I believe we are playing a twisted game with Windom Earle. No longer a simple chessboard. Something far more complex. If I could just nail down its iconography." GORDON (VO): "Coop, if you can do that, we may beat this thing. But Cooper, my confidence is a little shaken these days. Like those salt shakers, not really salt shakers, Norma's 'mystery salt' shakers, the new ones, the ones with added spice, she's got a dozen of them, Coop, all matched to the special. It's salt, but it's so much more. Feel like the meatloaf and accouterments, with a little shake of mystery. And Coop, listen carefully, for dessert, a superabundance of pies. Beyond a baker's dozen. Sam will do the leg work. Yes, pies."

S3:E16: ACT THREE

EXT. JACOBY BUNGALOW - NIGHT

Bobby's red Ninja is parked behind Jacoby's green Charger.

INT. JACOBY'S BUNGALOW - NIGHT

Eolani looks a bit nervous. She brings mai tais garnished with tangerine and white orchids. Bobby, in uniform, lifts one and furls his brow at the strange drink. Bobby agitated. Eolani touches Bobby's forehead with her index finger, then his lips, then his heart. EOLANI: "May all your winds blow as one." Eolani repeats the process on Jacoby, who wears his two tone sunglasses. EOLANI: "May all your winds blow as one." JACOBY: "Thank you, love, my tropical paradise." Eolani looks squarely at Jacoby. EOLANI: "Truth is for everyone. Truth is everlasting." Jacoby has a curious frown. Eolani exits. JACOBY: "Why are you here, Bobby? Is it Laura?" BOBBY: "Laura! I'm _not_ going to talk about Laura. No, it's not about Laura." JACOBY: "Oh, but it is, Bobby, isn't it? Are you worried, Bobby, because you killed someone? Laura knew. Is that why you're retiring, Bobby?" Bobby is astonished sweaty. JACOBY: "Donna and James know too, don't they?" Bobby shakes his head. BOBBY: "This was a bad f*cking idea." JACOBY: "Laura had secrets. And some of them were about you, weren't they, Bobby?" Bobby hides his face in his hands, digging his fingers and thumbs into his flesh. JACOBY: "Bobby, this is confidential. All my sessions are confidential." Bobby thrusts his hands away from his face. BOBBY: "I got to get to the Sheriff's Station." Bobby darts his eyes around. BOBBY: "I'm going f*cking nuts! F*ck this! F*ck you, Doctor! F*ck Leo! F*ck everyone!" Bobby furious. BOBBY: "You f*cking repeat any of this, and you're dead next!" Bobby beelines for door, kicking it open. Jacoby writes on a dayglow pink sticky note.

EXT. SHERIFF'S STATION AND NORTHERN AVENUE - NIGHT

Sheriff's Deputies remove the long standing metallic reflective Sheriff's tape.

INT. SHERIFF'S STATION - CRUISER GARAGE - NIGHT

A large banner, in metallic reflective letters reads, 'HAPPY RETIREMENT DEPUTY ROBERT G. BRIGGS' and in smaller letters, '20 years of faithful service to the Town and County of Twin Peaks'. Margaret, Garland, Sarah, Betty, Eileen, and Doc Hayward sit at a table together, midst many tables of guests. LOG LADY: "Where's our guest of honor, Major?" Garland looks to a frowning glassy-eyed Betty. GARLAND: "An unavoidable appointment, I'm afraid. Betty looks over to Shelly, standing with Norma and Irene behind a vast four conference table length buffet. They lock eyes in worry. DOC HAYWARD: "Well, speaking of retiring, as of Monday, Jim will be taking over the Morgue as Coroner. Doctor Nelson's been there since Laura died." EILEEN: "Any relation to Mike and Nadine?" SARAH: "Mike. Pfft!" DOC HAYWARD: "Yeah, I know, Sarah. Well, I think Jim is, let me see, um, married to Scarlet, she was a Johnson, so that makes them first cousins, I guess." GARLAND: "Margaret!" The Log Lady jumps slightly, then recoils into her Log. GARLAND: "Should I have the mulberry pie or the German red velvet?" LOG LADY: "Okay, listen carefully. All of you. The pies are from the Double R, the cakes from the Great Northern. Hurley pie, Horne cake. A little touch of the wedding right here. ... I'll have both. And so will all of us." GARLAND: "Officer, we'll both have both." BETTY: "Make that three, or six actually." We now see both Lucy and Andy with aprons on, Andy lofting a note pad and scribbling furiously. ANDY: "Let me see, 6 times 2 is 12. Lucy, we are going to have to use two platters. Lucy?" Lucy seems distracted. LUCY: "When's he going to get here?" ANDY: "Major Briggs said-" LUCY: "Not Bobby, Agent Cooper." Guests at the table and the Brennans stare toward the entrance.

INT. CONFERENCE ROOM - CONCURRENT - NIGHT

Sam presses a button on laptop. Cooper crowds in. Albert crowds in.

SAM: "Autopsy results, Beatrice Roundtree. Most interesting note, Agent Cooper, tissue swipe for precious metals. The Jade ring, sir. I have an approximation of the chemical composition of the ring, we estimate, she wore for 25 years." ALBERT: "So?" COOPER: "Albert, don't you see, this is a cog, or larger piece of the puzzle. But I caution you Sam, before clues are guesses, after clues are facts." SAM: "I am not guessing anything, Agent Cooper. I do not ascribe anything metaphysical to these facts. Her ring and your ring, Cooper, seem to have the same approximate metal composition." COOPER: "With this ring, I thee wed." ALBERT: "Huh?" COOPER: "Albert, I now believe Beatrice Roundtree was possessed by Caroline Earle. The rings, Albert. Weddings, of course! I think Windom Earle forced the ring on Caroline in the Black Lodge, meanwhile, simultaneously, onto the finger of Annabelle Blackburn, only to have it stolen by Beatrice Roundtree, who wore it for 25 years, slowly being consumed by its evil. Roundtree planned her conquest of the sanitarium, where she could torture Annie. Roundtree under Caroline's influence, under Windom's, Bob's, and of course, their leader, that creepy thing wherein all evil lies: The Man From Another Place, The Arm, The Dwarf, The Beginning of Backwards, Satan." SAM: "Wow, Agent Cooper, wow." ALBERT: "Goody. Listen, Cooper, without all the metaphysical grandstanding, what are you saying, in terms, say, Sam and I can even write down?" Sam smiles broadly. SAM: "Yes, Sir, that would be comforting." COOPER: "We are fighting _Influences_ , gentlemen." The three stare. SAM: "Like poisoning? Is it conceivable that both you and Roundtree were exposed to the same metal mix for years? Might that not be a rational explanation for your 'mental leaps' shall I say, and Roundtree's 'mental state' perhaps? That is a rhetorical question, Agent Cooper, of course, it is not. My point is that without any shred of a cogent physical trail, all of this would never pass a judicial review. It's all simply preposterous." Cooper holds up his salute. COOPER: "Albert, Sam, I must attend the retirement party of Robert Briggs." Sam waves and Cooper exits.

INT. CRUISER GARAGE - MOMENTS LATER - NIGHT

Lucy and Andy approach Cooper as he enters. COOPER: "Andy. Lucy." LUCY: "Well that hog, wrapped in burlap and left at the owl cave, the piglet they put where Juliette was, was stolen from the Dead Dog Farm." COOPER: "Lucy, who are Catherine's 'thugs'? And are any of them among the five that were arrested from the Roadhouse the night of February 23rd or morning of February 24th?" LUCY: "All of them. Those arrested at the Roadhouse were Terry Franklin, Dell Mibbler the Third, Jenny Blackman, Tim Peterson, and of course, Donnie Brunson. Well, Terry Franklin, he was in Laura's home room class, Miss Margaret Honeycutt told me. Then there's Dell Mibbler the Third, his grandad died with Pete Martell at the Twin Peaks Savings and Loan, the day you disappeared into the Black Lodge. Also, Jenny Blackman, you know, she worked at the perfume counter the same time as Audrey Horne, before Audrey was kidnaped. Donnie Brunson, he was adopted like Nicky was, Judy made sure of that. But Donnie was a delinquent from day one. He has a rap sheet longer than Leo Johnson! Thugs. Well, there's Randy Saint Croix, but he wasn't at the Roadhouse that night, or let me see, you may remember him as Randy Meyer 25 years ago, that's when the St. Croix family from Canada were going to change their names, so everyone had two names when you were alive..." Lucy snickers. LUCY: "Sorry, Agent Cooper, that's how we used to talk about you. When you were missing, Agent Cooper." COOPER: "Get back to your point, Lucy." LUCY: "Anyway, Randy was arrested at Martell's Cash and Carry, about 2 blocks away." COOPER: "That's six, Lucy." LUCY: "Five at the Roadhouse, one at the Cash and Carry. Boy does Randy hate the Hornes. Audrey fired him almost 15 years ago. But what can you do, _Legacy Court!_ Hmph! But Catherine's Foreman is Fred Truax, who Catherine fired after Josie Packard shut the mill down after Laura's death. And there's Josh, Rick, and Tim: they're all woodsmen. The Petersons. Their Dad and Uncle own Tim  & Tom's Taxidermy." Cooper snaps his fingers. COOPER: "Pete Martell!" LUCY: "Tom used to say Pete was his best customer. But Tim, that's Tim Senior, he didn't much care for Pete. And I know he hates his boys working for Catherine Martell. But then, Placide hated Juliette working for her too. Come to think of it, Agent Cooper, I don't know of anyone who likes working for Catherine. Anyway, the last one cited, but not arrested, _Albert_ Renault. Chief Paulson had him restrained at the roadhouse that night they saw Laura. Well, there was this glitch, you call it a distortion, but that doesn't matter, because Bobby, Officer Briggs, left the scene, at least that's what Maman said she saw that night, so Joey, like I say, he's got _Albert_ restrained, but the 'Department' didn't enter until 7 minutes later, so Joey released him to them, but he said, well _, Albert_ said he'd sue the Fire Department for brutality, then quick as a lick, Joey explains to us, us meaning the Sheriff's Department, that _Albert_ was just sitting with them, he didn't threaten Shelly Hurley at that time, but still, he's a Renault, so there you be. Joey's a Paulson. Simple as can be. Except Joey was seeing Shelly when she was with James, before she was with Bobby." Lucy takes a bite of red velvet cake. Lucy sips her coffee. Cooper seems partly astonished at Lucy, partly contemplative. Andy nudges Lucy. LUCY: "And ooh! I almost forgot, concerning Pink Sweat, it's that space soap opera, well I heard about the Hurley inheritance emerald ring on Pink Sweat. And according to Agent Chester Desmond's notes, he was looking for Theresa Banks' jade ring. And accessing the keyword index, I found _Invitation to Love_ , the twins. Jade and Emerald, both twins were married to Chet and Montana, and the computer pulled up Montana Doolittle, you remember. COOPER: "No, Lucy, I do not." LUCY: "Well, anyway, the computer kept saying no correlation, mainly because they are all fictitious." COOPER: "Yes, Lucy, so what did you come up with?" LUCY: "Well, Montana Doolittle has a Twin, his name is Dale Doolittle." Cooper blinks. COOPER: "Dale Bartholomew Cooper." LUCY (whispers): "I've put all the names you requested, Agent Cooper, like Robert Bartholomew Palmer and Robert Garth Briggs, and J Bartholomew Hurley, Robert Lydecker, and Phillip Michael Gerard, et cetera et cetera, and the computer, when the matrix overlay draws lines, like the one between Sarah and Robert Palmer says 'grandfather-in-law' and stuff. Well, gosh, Agent Cooper, it formed this huge network, I call it a spider web..." Cooper seems distant. COOPER: "Carl..." LUCY: "He's doing fine. He's staying at the house because Andy thinks Abby and Carl should, because Carl's wife (whispers) died of Hodgkin's lymphoma." Andy cries. LUCY: "Andy?" COOPER: "Andy, I'm sorry you had to lose, what was your niece's name?" ANDY: "Candy." LUCY: "Candy, like Andy." Andy nods. COOPER: "Andy, Lucy, I'm sorry you had to lose Candy." COOPER: "Lucy, add Carl Rodd." LUCY: "He's already in the spider web matrix, Agent Cooper." Lucy regards Andy with empathy. She makes him bend to her apron, where she dries his tears. Andy looks up, his expression changing to excitement. ANDY: "Agent Cooper! Agent Cooper! Abby said she saw Josie on the plane! The plane she flew in on. Josie Packard." COOPER: "When, Andy?" ANDY: "Just before they landed. When the plane was circling over Pearl Lakes." Cooper turns to loud applause as Bobby enters. Bobby, wiping his hair back, summons a big smile. He wipes his forehead as: Caption: 'Midnight, March 11'. His eyes belie his torment. Shelly sees it, touches Norma's shoulder, and moves toward Bobby.

INT. GREAT NORTHERN - PENTHOUSE - NIGHT

Overlooking the town, the windows of the Penthouse are occluded in condensation from the cold outside. Catherine sits with Peter Milford. Although he types on a tablet, no cameras. PETER: "Thank you for agreeing to be interviewed, Miss Martell." Catherine laughs. CATHERINE: "Oh, Peter, just Mrs. Martell. Mrs. Catherine Packard Martell." PETER: "Tell us your story, Mrs. Martell." CATHERINE: "This whole thing's a farce. Half of it is made up, the other half is shenanigans! Some hoodlums dig up that high school girl that half the town think is a saint, the other half knows what she did. And they blame me. No wonder, though, coming from a killer for a father and that mother of 12 but mother of none, Sarah Palmer." PETER: "You know my cousin, Douglas Milford IV?" CATHERINE: "Our erratic ex-Mayor's son? Dougy? What of him?" PETER: "You were with him the night of the graverobbing, correct?" CATHERINE: "Listen, my dear Peter, the FBI doesn't care. They contend I hired people to do it, with not a shred of evidence other than hearsay. Even that creature, Juliette, has not implicated me. There's people in this town that just wish to destroy me." Catherine stands and moves to a window, wiping its dew and looking down to Black Lake. CATHERINE: "But their nasty shenanigans with that Palmer twin's corpse will lead to their downfall!"

PINK SWEAT'S EXT. _CHÂTEAU PROMENADE_ & BLACK LAKE - NIGHT (CGI)

On the deck of the long yacht, Lela and Aurora look out over the waters. AURORA: "I'm Aurora, and I've decided to let my roots grow out." Aurora has washed all dies from her hair, and shows a more natural white blond roots growing out to bleached rebleached dyed undyed hair. LELA: "And I'm Lela, and I've decided to outgrow my roots." Lela has a red and black mohawk, six feet high, feathered here and there with red black and gold metalic feathers, lofting up and out like an impossible crown. Lela snickers. Aurora swats Lela's shoulder. AURORA: "Now we're going to have to do it again!" LELA: "I'm Aurora, and I've decided I'm jealous of my sister." Lela snorts and laughs. As Lela pushes Aurora playfully, it causes Lela's CGI hair to askew from her green motion-capture-dotted bald-capped head.

EXT. BLACK LAKE - NIGHT (CGI)

The _Château Promenade_ motors in the far distance. Brisk cold has produced lake affect fog that the yacht it sails slightly above. Then into the fog. Into the night. A far away dock light flashes. Flash. Flashity flash flash. Flash.

CLICKING MONTAGE - STOCK

Leland dying in interrogation room, held by Cooper. 1991 LELAND: "My God, what have I done?" Gerard in Cooper's dream. 1991 GERARD: "And then I saw the face of God!" Cooper with dying Leland. 1991 COOPER: "Go into the light, Leland." Bob holding Windom by the nape in Black Lodge. 1991 BOB (backwards speak): "He's wrong! He can't take your soul!"

INT. BLACK LODGE (CGI)

A Huge Red Room, the chevrons oscillate forward to a square pit. The Chevrons pour off the four edges and dwindle like a waterfall into the square room below.

INT. GREAT NORTHERN - PENTHOUSE - BOUDOIR - NIGHT (CGI)

Catherine dances back and forth to music. She wears a mink stole. She mimics her crazy hands-flapping-on-forehead dance with Leland all those years ago. We see Laura's 'click' in the Black Lodge within the reflections of [in parentheses]:

CATHERINE (singing): "Shenanigans!" Tiptoe kick. [window]

CATHERINE (singing): "Shenanigans!" Step one two. [champagne]

CATHERINE (singing): "Shenanigans!" Tiptoe kick. [her gold watch]

CATHERINE (singing): "Shenanigans!" Side to side. [her gun]

CATHERINE (singing): "Shenanigans!" Tiptoe kick. [silver spoon]

CATHERINE (singing): "Shenanigans!" Side to side. [diamond ring]

CATHERINE (singing): "Shenanigans!" Tiptoe kick. [hand mirror]

CATHERINE (singing): "Shenanigans!" Step one two. [her left eye] CATHERINE (singing): "Shenanigans!" Tiptoe kick. [ankle bracelet]

INT. SHERIFF'S STATION - CRUISER GARAGE - NIGHT

Cooper observes Bobby. Bobby, in distance, raises a small petit four of red velvet cake. BOBBY: "Seriously, folks, now that I'm retiring from the Department, I can have my cake, and eat it too!" He bites half, and feeds other half to the smiling almost giggling Shelly. Diane approaches Cooper. COOPER: "Diane, what do you have for me?" DIANE: "Good evening to you too, Dale. Dale, I think you need to sit down with Shelly McCauley, Donna Hayward, and Audrey Horne." Cooper furls his brow. COOPER: "I'm sorry, Diane, as you know, I am a bit muddled today. Good evening. What is this about?" DIANE: "Creamed Corn." Cooper looks at Diane. DIANE: "Audrey Horne has purchased the apartment building where the imposter Lilith Tremond once resided. Where Donna Hayward encountered the imposter and her grandson. The imposter Shelly McCauley saw giving Laura the picture frame. Miss Horne is waiting in Sheriff Truman's office."

INT. HARRY'S OFFICE - MOMENTS LATER - NIGHT

Cooper paces back and forth. Seated, Audrey fans one leg. Cooper regards her scarlet ensemble. COOPER: "That's some story, Audrey. How am I to believe you? Is this just another one of your machinations to insinuate yourself into my life?" AUDREY: "I thought you would be pleased. It hurts that you don't believe me. I did it for you." COOPER: "I do believe you, your details belie the truth. But I do not believe your intentions are pure. Audrey, discipline is a necessary part of law enforcement. Do you know how I felt when I first heard you were shot? Lies and deceit, Audrey." AUDREY: "I want to tell the truth, Agent Cooper. I want nothing to come between us." Cooper leans over Audrey's chair. COOPER: "Then tell me the truth, Audrey!" Audrey looks down. AUDREY: "I lied about Leo. I saw him. Daddy and I. Daddy made some deal with him. Daddy bought the Trans Am. Daddy just wanted to make sure Catherine didn't hire him first. No harm came of it." COOPER: "Audrey, through your unmitigated desires, you have breached upon the Black Lodge, made a mockery of Law Enforcement, and lied to the FBI, a felony." Knock at door. Cooper sets his jaw. COOPER: "Enter!" Sam opens door. SAM: "It's time, Sir." Cooper is fuming. COOPER: "Thank you, Sam." Sam pauses, then exits, closing door. Audrey hangs her head. AUDREY: "I just wanted to help." Cooper lifts her chin. COOPER: "Audrey, you _will_ help. By cooperating fully with the FBI, under agreement. Any further deception on your part will be met with the full brunt of the Bureau's prosecutorial powers." Audrey nods. COOPER: "Go to the retirement party and await further instruction." Audrey summons a broken smile. She stands, straightens her scarlet skirt with her red lightning nails. Audrey exits. Cooper stares at Harry's chess game. He touches his earpiece. COOPER: "Is the conference room ready? ... Thank you, Sam."

INT. HALLWAY OUTSIDE CONFERENCE ROOM & CONFERENCE ROOM (THE BUBBLE) - NIGHT (CGI)

Standing outside the Conference room, Albert, Sam, Harry, Diane, Lil, Cooper, Roger. Harry has a look of disbelief. HARRY: "Is this really how you folks do things?" SAM: "When deemed necessary, yes." Sam looks at his tablet. SAM: "The bubble is fully inflated, Agents." Harry smiles. Diane opens the door of the conference room to reveal a strange black plastic bubble 'airlock' with electronic 'zipper'. Diane touches the top of the zipper, it opens, exhaling a rush of air. DIANE: "One at a time. See you inside." Diane enters bubble. Zipper closes. Harry shrugs and repeats entry. Sam, Lil, and Roger enter separately. Albert looks to Cooper's concerned expression. ALBERT: "You look nauseous. I thought you liked the bubble." COOPER: "It's not that, Albert, let's proceed." Albert enters. Cooper enters.

INT. CRUISER GARAGE - NIGHT

A crowd stands around Bobby, who holds Shelly by the waist. Garland, Sarah, and the Log Lady stand together away from crowd. LOG LADY: "Sarah?" SARAH: "The other is here." GARLAND: "It is happening again." LOG LADY: "The Squinting Man."

INT. THE BUBBLE (REDRESSED CONFERENCE ROOM) - NIGHT (CGI)

Inside the inflated plastic sphere, like a Protocol 121314 envelope. All the furniture of the conference room has been removed. Lil, Diane, Harry, Cooper, Albert, Sam, and Roger stand inside a plastic bubble inflated to the very walls of the room, showing odd impressions of the chalk board, windows, light fixtures, and structure of the room pressed in black plastic. Laser emitters project a fluctuating hologram head of Gordon Cole in the center of the bubble. GORDON: "Agent Truman, your estimation of what is happening in your fair town." HARRY: "Well, Gordon, I think something big is happening. It's strange Gordon, I think it involves the whole town, kinda like the way when Laura died. It hit the whole town then, and then the mill burned, and so much worse. We got through it, things settled down. Now _now_. 25 years later, something's happening, Gordon, and it keeps happening again. As a former Army man, Sheriff of these parts, and now a Bureau Man, I sure could use more help. They can't be locals, but I would like eyes on a lot more of what's going on." Harry pauses. HARRY: "Sorry, Gordon, if you'll excuse me, I feel sick to my stomach." Gordon's image pixelates. CHESTER (VO, distortion): "Li***, *alk w*** me." Chester appears inside the bubble, in dazzling beaded light in star bursts of refracted diamondlike scintillation. Agents react in astonishment, Albert and Lil pulling their guns. GORDON: "Calm yourselves, people." CHESTER: "Your name is Cooper. I know you, however, occasionally, my memory doesn't stretch that far. Don't you just hate that sh*t?" Agents stow weapons. Chester lights a smoke. CHESTER: "You guys look surprised. It's like this everyday in the Black Lodge. For all I know, this is the Lodge, right, Coop? Can I call you Coop? That ain't right either." ALBERT: "Agent, extinguish that cigarette immediately and avoid contact with the meshing you are standing in." Chester shrugs, spits in his left hand, extinguishes it, pockets butt. CHESTER: "You're weird. Albert, right?" Chester walks through the hologram head of Gordon. Gordon doesn't react other than his image becomes twisted and pixilated three dimensionally, and as it does, inside Gordon's head: CHESTER: "Hey, Gordon, what's up? Sam, Sam, Sam, my man!" Chester leaves hologram and grips Sam's handshake, and leaves him immediately for the sisters. Diane enraptured. Lil suspicious and scanning every gesture he makes. He takes each twin's right hand in one of his own, Diane in his right, Lil in his left. CHESTER: "To mention one of your names first, a crime, to have kissed one of you first, against regulations, to tell you how much I missed you, against the law of spacetime." GORDON: "Scan complete. That's Agent Chester Desmond, alright. Good work, crew! Quick thinking, fast results. Sometimes my head can bend around things like this, but I feel like this isn't one of those times. Spacetime. Agent Desmond, you need a lot of work. Get him up to snuff, gals. And Chester, we still get a 23% read that you're lying around the ladies." CHESTER: "On it, Gordon. Say, Gordon, about the number 12..." GORDON: "That's Cooper." Cooper nods. CHESTER: "Diane, I've emerged from the Black Lodge, I believe it to be 25 years later, and I know how to stop the murderer of Theresa Banks." All the Agents stare at Chester with fascination. He notices, and stumbles through: CHESTER: "Incredulous as that sounds ... and if you're thinking, Diane ... I bring clues from the Black Lodge." GORDON: "More work than I can imagine. Like that Observatory, people. Positive link between the Air Force and Horne Observatory. They both use it. Horne makes money. Our friends make observations." COOPER: "Gordon, if we know about the Air Force and Benjamin Horne, I have to postulate some contrapositives." GORDON: "We're up front with our use of datastream access to Horne Industries' twisted anagram, Pink Sweat. Don't like it. It smacks of subterfuge. That's why we have Special Agent Hardy with us. Roger, he's like a ferret. He'll find the snakes. Reminds me of Wyoming. They serve rattlesnake soup. Can't say I preferred it, but when in Rome, I'd just as soon find me the Roman version of the Double R Café, than sleep with the lions. Hold up boys and girls. I'm getting a... Make that, 'I'd just as soon find the Roman version of the Double R Café, than sleep with the fishes.' Got that?" COOPER: "Loud and clear, Gordon." CHESTER: "F*ck, I understood only about one tenth of that."

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Ben furious, pacing, Jerry following him around. Sylvia sits with a glass of Burgundy, swirling its deep richness. BEN: "Well, Jer, get used to wearing an ankle bracelet." JERRY: "Why, Ben?" BEN: "Audrey has spilled the beans to Cooper." JERRY: "Why, Ben?" BEN: "Her incomprehensible infatuation with that smiling strutting FBI man." JERRY: "Did she really tell Cooper about Leo? Ben, we are in the biggest trouble I think we've ever been in." Ben looks to Sylvia. BEN: "Sylvia is right. If Audrey is fully cooperating with the FBI, we have to also. We have no choice." JERRY: "I could file a motion or something." SYLVIA: "The time for that is over." Ben looks to Sylvia. Ben puts an arm around Jerry, and escorts him to Sylvia. BEN: "Jerry, Audrey's gone. I want as many of our assets transferred to Sylvia as possible. The Reckoning." JERRY: "Benjamin, that won't work. First, it may prompt the Feds to freeze all our assets. Second, they may start digging into the settlement." BEN: "That woman. Catherine. How the hell is she defeating us without lifting a finger!? Audrey has just handed Catherine another victory." JERRY: "What do we do, Ben?" BEN: "What we need is Leland Palmer. He always got us out of these, shall we say, entanglements." JERRY: "Daniel, Ben?" BEN: "Daniel, Jer, Daniel! I wonder how Audrey would feel if I exiled her from the Great Northern." SYLVIA: "You will do no such thing!" Ben and Jerry look surprised. Sylvia stands. SYLVIA: "Benjamin, I've watched you try to reform your life. You too, shadow." Jerry sneers. SYLVIA: "Not even the saferoom will protect you from Cooper. It's time to come clean. Audrey's flipped on you two. Who are you going to flip on?" Ben and Jerry ponder. BEN: "Now is not the time to argue, but to martial what remaining forces we have. Family." JERRY: "Family." SYLVIA: "Family." JERRY: "Ben, why did Audrey buy that Apartment building?" Sylvia finishes her burgundy with a gulp. SYLVIA: "Whispering sisters. Donna told Audrey all about that dump, so Audrey bought it. Another dowery for Cooper." Ben's face light's up. BEN: "Hmm, I may just appropriate a stratagem from Catherine's playbook." JERRY: "What's that, Ben?" BEN: "Catherine has insinuated Cooper's interest in our willful Audrey's life is not pure. Perhaps it is leverage. I mean, can Cooper really be trusted?" JERRY: "Benjamin, you can't fight the FBI." BEN: "Just find Daniel Palmer."

PINK SWEAT'S? EXT. BLACK LAKE - DAY (CGI)

Aurora and Lela in baptismal gowns, stand in the waters of the shore of Black Lake. Aurora's blond locks are soaked. Lela's brunette locks dripping. Skip speak: Every alternate word is spoken by one performer. AURORA AND LELA (skip-speak, singing):

"We're two of twelve, and yet, one of a kind,

We're a part of you, and part of Twin Peaks,

We're sugar, we're spice, like Halloween treats,

We're naughty, we're nice, 'cause everyone sins,

We're you know who, the Flying Eagle Twins.

We're hidden, we're deep, like dark chocolate sweets.

We're special, we're live, we're all star freaks!

She's strange, she secret, she's out of her mind."

Aurora and Lela startle at a thundering door knock.

INT. MARTELL'S TIMBER FALLS MOTEL - PALMER ROOM - NIGHT

Donna bursts in. Aurora and Lela stand in front of a greenscreen in baptismal gowns, being filmed by Daniel. DONNA: "Out you two!" DANIEL: "Donna, what is it? Are the Sheriff's bothering you again?" DONNA: "I SAID LEAVE!" The twins jump. Daniel nods, and Aurora and Lela exit. DONNA: "Tell me about those embryos, Daniel. And tell me about Benjamin Horne!"

EXT. BLACK LAKE AT BLUE PINE LODGE (PACKARD HOUSE) - NIGHT

From the lake, only the barest reflections of the red slashes are visible on the Twin Peaks Sheriff's Department tape. The tape surrounds the Blue Pine Lodge. Closer to the surface of the lake, our angle of the Lodge is obscured as the huge log at the Lodge's shore obscure it more and more. We submerge into the water of the lake, each world filling half our view. Plastic garbage begins to float by just under the surface. Clear plastic. Familiar plastic. With holes punched out, about half-centimeter each. Some of the holes still have hanging floating plastic chads.

INT. BLACK LODGE (CGI)

Gerard is spotlighted and stands before the red curtains in an empty chevronned room. He looks up and around, darting his eyes. _MIKE_ (GERARD): "My name is Mike. I have not spoken until now. Laura has friends. Laura has secrets. Laura has returned." Gerard walks forward toward the earlier pit with the chevrons oscillating like a waterfall into the square room below. Gerard stops at edge. He tips unceremoniously and falls into the pit. As he falls, the transubstantial half image of his missing left arm half appears and is gone. Seeing into the pit, Gerard is gone. Back to where the arm fell and disappeared, and its shoulder. A circular tattoo:

FIRE

WALK

WITH

'ME'

The quotes around 'ME' look like flames. The tattoo is formed as if looking through a round magnifying glass, perfectly circular. As we pan out, this circle forms the O in a larger tattoo, 'MOM' but the Ms are on their sides, rounded, looking like 'ЄOЭ', reminiscent of 'BOB' with a backwards first B.

INT. SHERIFF'S STATION - CRUISER GARAGE - MECHANIC SHOP - NIGHT

Audrey stands with Cooper in a remote corner of the garage, near a mechanic's shop. AUDREY: "I never thought of buying it, but I had a dream last night. I was at the old Packard Mill in its glory days, before it was burnt to the ground."

INT. AUDREY'S DREAM - SUNSET

The old mill in its glory days, unburnt. Although seemingly the past, Current Audrey is strapped to a an industrial saw assembly. A spinning saw is dangerously close to Audrey's right leg. Current Catherine cackles. Catherine's movements, speech pattern and expressions are all Windom Earle. CATHERINE: "Now for a little fun, Audrey, my friend, after all, you wanted to be the One Legged Woman." Audrey screams. CATHERINE: "Do you seriously love him more than your leg!? The Dugpas, our brothers and sisters of the shadow, master sorcerers and sorceresses of delicious evil, require a little pain and suffering, don't they?" Catherine toots a flute. CATHERINE: "I should never have taken Dirty Annie Blackburn. Cooper loved her, but not you. And he'll never love a lying manipulative one legged freak!" Saw blade inches to within millimeters of Audrey's perfect gam. Screams.

BACK TO GARAGE

Audrey shies away from touching anything greasy. AUDREY: "I bought the whole complex. Already hired a new Manager. I bought it for you. That creamed corn lady took Donna to the Black Lodge. I bought it for you, to win your case. I am the One Legged Woman." COOPER: "My God, why, Audrey? Why!?" AUDREY: "You bought the Black Lodge. I bought the 'doorway' as my little sister puts it." COOPER: "I told you once you were playing with fire, Audrey. And now you are letting it consume you. I am convinced your motives are not pure." AUDREY: "Isn't love pure?" COOPER: "How can you love me? I was gone for 25 years, Audrey." AUDREY: "The moment Johnny said your name, my heart fell. It didn't just fall, it kept falling. And I floated and I remembered. All my life I've known men I thought I loved, I thought I was falling in love with. None of them made me feel one iota the way I feel around you, thinking of you, and my God, your voice. Dale, I love you." COOPER: "Audrey Horne, you knowingly lied to me regarding seeing Leo Johnson. Furthermore, according to your account, your Father and you entered into an agreement with a known felon. Audrey, I am compelled to arrest you on the charge of conspiracy in several crimes." Tears streak down to Audrey's quivering lips. COOPER: "I have no choice, Audrey." AUDREY: "Before you take me in, answer me one question. Do you love me?" Cooper frowns, looking down. Audrey looks down. Cooper stares at the floor. Audrey's tears fall. Droplets hit the greasy stained floor. Cooper looks up. Audrey looks up. He stares into dripping eyes. COOPER: "Audrey..." Audrey's disappointed face contorts to sheer pain. She turns from him, sniffling, barely able to breathe. She puts her hands behind her to be cuffed. Cooper swipes his trench coat to the side to retrieve his cuffs. He takes the cuffs and stares at their mirror finish. He sees himself. He abruptly turns Audrey. COOPER: "By God, I do love you." He kisses her deep. She breaks the kiss to reveal a mesmerized look and abounding glowing smile. Cooper swats the air as if a fly was buzzing around. COOPER: "Got you!"

FADE TO BLACK

RAVEN (VO): "Diane, this is Diane." DIANE (VO): "I read you, Agent Hill." RAVEN (VO): "Diane. Diane Shappiro Hill." DIANE (VO): "Loud and clear, Diane." RAVEN (VO): "Diane, I feel like the pie at the Double R. Do you copy? ... It's Diane Hill." DIANE (VO, backwards speak): "Copy one. Engage filter." RAVEN (VO, backwards speak): Cornucopias of copious quantities of copper vats of pies!" DIANE (VO, backwards speak): "Got it, Diane! But we got to get _Albert_ on board for this one, Diane." RAVEN: "Just follow protocol. A side note, that Number 13 Sheriff's badge? Recovered. Wasn't easy. Like telling Norma it's Thursday." DIANE (distortion): "Understood, D***N!"

CGI Crawling Caption: 'Tonight! The Producers would like to thank fan # ! #& for her outstanding winning cross-time plot line! Please stand by' in dully garbage-matted flat white letters as if scotch taped onto the screen in a sticky sheen. Caption fades, tape remains. In the blackness. Panning back, the tape's sheen is but one of millions of cosmic scenes blurred through translucent tapes that form one spectacularly refracting dark galactic letter, filling the known universe of spongelike pangalactic superfilaments. 'L'


	17. Not if I see You First

(First Edit: 1/24/19)

TWIN PEAKS: EPISODE 17: "NOT IF I SEE YOU FIRST"

S3:E17: ACT THREE A.M.

EXT. GREAT NORTHERN & WATERFALL - NIGHT (CGI)

Caption: '3am Friday, March 11, 2016'. The reflection of the grand hotel in the brink. Closer to the reflection. Closer to the third floor. Closer to the window of Room 315. Impossibly, we travel into the watery reflection, and into:

INT. GREAT NORTHERN - COOPER'S ROOM - NIGHT (CGI)

Cooper's night stand. On his stand, a petit four from Bobby's Retirement, frosted 'BB'. A glass once containing milk. Four hand tied fishing lures: a green butt skunk. Cooper asleep, his hair strangely disheveled, revealing a glimpse of tattoo under his thick dark hair. Rapid eye movement. Traveling into Cooper's closed right eye, as we pierce the eyelid, sketchy glitch.

INT. COOPER'S DREAM (CGI)

The emerald inheritance ring, magnified to eight feet tall, shimmers in blackness. Margaret, Garland, Sarah, Cooper stand in the darkness, facing the ring. We do not see their faces, and their voices sound thunderous. LOG LADY: "The All." RIBBON MAN: "The All." DREAM LADY: "The All." ONE EYED MAN: "The All's are not what they seem."

EXT. SPACE (CGI)

An active bright blue magnetar, spinning wildly, spewing white monumental gamma bursts at its poles, envelopes our view. Over this, caption:

'UNDER

RATIFICATION

BY THE

GREAT

SLOAN

WALL

TREATY' in spectacularly infrared to ultraviolet refracted dark 'Dweller on the Thresholds,' each Dweller composed of wholly differing intragalactic panoramae. One Dweller, one Letter. Each body, curved inside what might be a clear plastic or crystal letter verging upon invisibility, save for perhaps its magnifying effect. Yet these Dweller Letters' cloaks still flow in a wind across cosmicscapes. The Letters outlined in tulip fronds. The strange unique galaxies of cloaks and capes midst petals and stems, blossoms and fronds. 42 Dwellers 42 Letters. The Dwellters blend and fractalize into letters from Garland's Infinite Fractal Alphabet, then into each other, fractal-blending to each other's unique galactic Dweller perhaps how DNA might intermingle to form the fractal child in a sea of ever indistinct fractal evolving whirling panoramic swirls.

The kaleidoscopic field hyperbolically fractalizes into liquid blue letters bordered in multiversal opalescent mirrors made of sand. Behind letters, scenes of Pearl Lakes:

PEARL LAKES THEME and OPENING SEQUENCE starring DALE COOPER, HARRY TRUMAN, HAWK HILL, DONNA HURLEY, JAMES HURLEY, and CARL RODD. Special appearances by PHILLIP JEFFRIES and RAVEN HILL. Featuring ABBY BRENNAN, LUCY BRENNAN, and ANDY BRENNAN as The Watcher. Special Guest Star WINDOM EARLE. BOB. LIL. And STARRING CATHERINE MARTELL. STARRING JOSIE 'JOCELYN' PACKARD. With DANIEL PALMER, AURORA FLYING EAGLE, and LELA FLYING EAGLE. Special Guest Star appearance by L– Glitch.

INT. GREAT NORTHERN - COOPER'S ROOM - NIGHT

Cooper sleeps. HAWK (VO): "When you see me again, it won't be me. I am Hawk. I am the Spirit Guide. Ashes of the ghost." Cooper's right closed eyelid 'winks.'

INT. COOPER'S DREAM OF EXT. PEARL LAKES - THE TILTED CABIN - NIGHT - ESTABLISHING

Three lakes, two small, one teardrop shaped, with calm deep blue waters and strange white sand pearlescent shores surrounded by cabins and majestic ancient douglas firs. Further up the hilly environs, houses. A dark house. A vacant lot. A white house. On the shore of the smallest lake, in a more pedestrian to modest neighborhood, one dilapidated cabin, formerly washed out from its foundation posts, is tilted down at its entrance, pearls of sand up to and under its sunken front door. Strangely, though looking uninhabitable, through one thick glassed window, figures move around.

POV DREAM COOPER

Cooper's left pinky-ringed hand reaches out for the doorknob of the strange cabin. Glitch.

Door opens. Hawk stands. Bookhouse Boys jacket, black gloves. HAWK: "Ashes of the ghost." COOPER (OS): "The ring of owls. The Jade Ring." HAWK: "The ring of All. The emerald ring." Hawk looks outside to a voice: LAURA (VO): "I feel like my arms bend back, but sometimes I know her."

BACK TO COOPER'S ROOM

Cooper wakes suddenly. He fumbles on his night stand and picks up his 25 year old tape recorder. He clicks his earpiece on the night stand. And gives the 'Josie' knob a bonk and a twirl. Tape recorder clicks on. Click. Clickity click click. Click. COOPER: "Diane, I am using this antiquated device to record my musings. Diane, I am perplexed at many things, all at once. However, I seem to be traveling both faster in some ways of my reasoning and slower in other ways." Cooper rearranges his lures in a line. COOPER: "But that is neither here nor there. Begin. Diane, Cooper. It's Agent Cooper. Dale Cooper. Second beginning. Seconds now... Go. Twelve is being manipulated. Twelve is being manipulated. Twelve is being manipulated. Send immediate conduit team to just over there. One Two. Is this thing on? Three Four. And never more. Five Six. I'll have the fish. Seven times Eight no more. Nine Ten. Too late by then. Eleven Twelve. Manipulated. Amputated. Mutilated." Cooper lifts the green butt skunk and gleams. Cooper winks.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks [Glitch. Glitchity glitch glitch. Glitch.] & Fire Walk With Me & [Glitch. Glitchity glitch glitch. Glitch.] Light Walk With Me cast members.

S3:E17: ACT SIX A.M.

EXT. WATERFALL & HORNE WOODS - MORNING (NIGHT) - ESTABLISHING

Caption: '6am Friday, March 11, 2016'. The frothing cascade trembles down to the crashing base, spraying a bouquet of mist. Traveling into the falls' brink, a millimeter below the water, and turning to the falls base, we see James and Donna far below, the couple warbled in ripples of transience.

EXT. WATERFALL & HORNE WOODS BELOW FALLS - MORNING (NIGHT)

Under the sound of the frothing falls, an owl's hoot. Donna and James in rain slickers, dripping with mist condensate. JAMES: "We can't tell Cooper about Jacoby's Lauraroom. Eolani is trusting us." Donna strokes James' chest, staring into his eyes and relenting. DONNA: "Okay, James. But I am going to ask Sarah and Sylvia and Eileen about Laura's sisters." James parrots Donna. JAMES: "Okay, Donna." Donna smiles. She kisses him. DONNA: "I want you back here, at midnight." JAMES: "I promise, right here. We can see the gazebo from here." James turns Donna to the far off gazebo, just peaking from the shore of Easter Lake and Easter Park. Donna lays her head on James' wet shoulder, bewetting her cheek. JAMES: "And I promise I won't get drunk. But you have to promise me about Audrey." DONNA: "I promise, no more games. But James, I have to find out about the Tremond apartment. You know Audrey, she'll make me do something I don't want to." James grins wide. He turns to her. JAMES: "I can't imagine anyone could make Donna Hurley do anything." DONNA: "You can." They both grin. Kiss. They turn back to the gazebo. JAMES: "What did Sarah say?" Donna looks down. DONNA: "She said I should wear the inheritance ring tomorrow." James smiles. They turn to each other, lost in each other's eyes. Donna looks down. DONNA: "I also asked Sarah to invite those Frankensisters. Embryos. Twins. Clones." JAMES: "Lela and Aurora? Why?" DONNA: "They're part of this. They're her daughters. It was odd, Sarah said, I quote, (Donna's lips move, VO SARAH) 'Donna, you invite them, I insist. Can't promise anything, but Maggie and I can handle anything. And thank you for inviting Beth. The girls can see her again. Since they're 17, you know, they aren't allowed up there at TPA.'" JAMES: "And Jacoby?" DONNA: "He has to be at the bridal shower if Beth is on furlough." JAMES: "Don't you think that's weird, being the only man there? Doctor Jacoby is weird." Donna's voice trails off, as she clutches her arm. DONNA: "The Nowhere Man." JAMES: "Why do you think Doctor Jacoby is the Nowhere Man?" Donna stares up the waterfall. JAMES: "Donna?"

EXT. GREAT NORTHERN & WATERFALL & DOCKS & BLACK LAKE - MORNING (NIGHT)

With sunrise an hour away, the dark lake placidly undulates against the boats moored at the Great Northern.

INT. GREAT NORTHERN - DINING ROOM - MORNING (NIGHT)

Cooper sits at a table, alone, in civies. Along the chest pocket of his flannel, his fishing lures, hooks out. A waitress in her sixties stands by Cooper's table, holding a pot of coffee. Her name tag reads 'Trudy Chelgren Stanicek.' Before Cooper is a stack of griddle cakes, slice of ham, melted butter and boysenberry syrup. Cooper holds up his salute. Cooper sips coffee. COOPER: "Ah! Trudy! Trudy! Trudy! As always, steeped to perfection. I note by the ring on your finger and your last name that you married Doctor Terrence Stanicek, the fertility Doctor?" Trudy frowns. TRUDY: "Yes, Agent Cooper. Can't say it's been bliss, but things are getting better." COOPER: "Why haven't you retired? It seems, with a Doctor's salary..." TRUDY (whispered): "Financial." COOPER: "Forgive me, Trudy, it isn't my place to pry." Trudy nods, looks down. COOPER: "Trudy, our path through this life is beset with obstacles. With your ineffable smile and your gift for tickling the ivories, I can't imagine anything could overcome you. Please add a continuing additional 6% to the gratuity, outside the Bureau's standard 11.21 per cent, to be billed directly to my personal account." Trudy blinks, smiling. Cooper looks up, seeing Audrey enter. COOPER: "If you will excuse me, Trudy." TRUDY: "Thank you, Agent Cooper." Cooper and Audrey lock eyes. Before Audrey can take a step toward Cooper, Judy rushes into seat across from Cooper, surprising him and causing a frown in Audrey's glowing visage. Audrey waves her fingers, smiling and exits. Cooper parrots her wave. JUDY: "Mr. Cooper? Do you know Timothy Pinkle?" Cooper pours syrup. COOPER: "Timothy Pinkle, provider of medical equipment to Leo and Shelly Johnson, on the occasion of his incapacitation, lawyer for Heidi Vogel and Leo Johnson, involved in the Save Ghostwood project, the bane of Margaret Lanterman." JUDY: "He's always bothering me. But who am I to deny suitors? A woman and man both in their early to late forties..." Judy expectant. JUDY: "Wrong! I turned 50! On Laura's passing. Her death day is my birthday!" Judy jumps up and down in her seat, exuberant, then straightens herself. JUDY: "Oh! Sorry. That's inappropriate." Judy bites her lip, trying to bite away her grin. JUDY: "I was eight when she was born." Cooper eats a slice of ham. COOPER: "What of Mr. Pinkle?" JUDY: "He's proposed." COOPER: "Congratulations." JUDY: "It's not like that. I said no." Cooper eats a bite of dripping griddlecake. COOPER: "I'm sorry." JUDY: "I don't know where my heart is." COOPER: "Miss Swain, something tells me you are not here to discuss Timothy Pinkle nor Laura Palmer." Judy nods, looking down, uncharacteristically losing her unending bubbliness. JUDY: "No." COOPER: "Phillip?" JUDY: "Wro- Yes!" A few bubbles. COOPER: "The dreams have returned?" JUDY: "Yes." Cooper puts down his knife and fork. Cooper sips his coffee. COOPER: "Judy, your journey will perhaps be the strangest of all. Remember Miss Swain, guesses and conspiracy theories only result in more tragedy. Before clues are guesses. After clues are facts. Stick close to the truth, and your unequaled optimism will set you solid for true love." Judy stares wide-eyed, unusually silent. Cooper stares. Judy stares. Cooper lifts his utensils, regards each. COOPER: "Now tell me about these dreams, and do not embellish any portion of them."

S3:E17: ACT NINE A.M.

EXT. SHERIFF'S STATION - MORNING (CGI)

Caption: '9am Friday, March 11, 2016'. Moving toward the last 'S' of 'TWIN PEAKS' and the first 'S' of 'SHERIFF'S DEPARTMENT' and slowly through wood then air then turning down and through the roof: brick insulation wires ceiling panels florescent light to:

INT. SHERIFF'S STATION - RECEPTION - MORNING

Lucy watches Bobby, in civies and motorcycle jacket, and Sheriff Jeff Michael, a balding man in his mid sixties. BOBBY: "Sorry we ran late, Jeff. Guess we both get a little more overtime, eh?" Harry enters with Roger and Chester. JEFF: "No problem, Briggs." HARRY: "Well, Bobby, this is goodbye. The Department was blessed by your service." Bobby nods, a little shaken. Bobby looks at Chester. HARRY: "Oh, this is Agent Chester Desmond. He'll be looking into the Theresa Banks case, and see if he can uncover anything about that Deer Meadow Sheriff ... what was his name?" CHESTER: "Sheriff Cliff Howard." HARRY: "Howard, yeah. Anyways, the offer still stands if you want to be on our first responders list." BOBBY: "Um, yeah, first responders, I mean, not right now, Harry. I got a lot of things I got to do." HARRY: "Guess this is the last time you'll sign out. ... Lucy?" Lucy pushes a timesheet forward, tears running down her face. BOBBY: "Lucy? Lucy, now don't you go all Andy on me." Bobby smiles, hands Lucy his handkerchief. Bobby signs out. Bobby takes handkerchief, turns, gesturing broad. BOBBY: "Harry, officers, it was an honor to serve." Bobby regards Lucy, her head hung, arms crossed. BOBBY: "I ain't leaving without a hug." Lucy stands, half smiling. Bobby hugs Lucy. Shakes Harry's hand. Jeff signs out. BOBBY: "Come on, Jeff, let's get a bite at the Double R." JEFF: "I could use a pick-me-up." LUCY: "Ooh! Sheriff Michael, I almost forgot." Lucy picks up a padded box with a tiny grey sleeping kitten and tiny baby bottle of milk. She hands it to Jeff. LUCY: "Orphan." Bobby regards kitten, uncharacteristically emotional. He puts on his black leather gloves. JEFF: "Thanks, Lucy." Bobby puts his arm around Jeff and they exit.

INT. CONFERENCE ROOM - MORNING (CGI)

Albert and Sam stand in front of the conference room's large flat screen. On the screen, an immense ever expanding sphere of branches of junctions between 'stars,' forming a sphere of ever segmenting arms of stars then superarms throughout the perfect white growing glowing sphere. ALBERT: "Cooper's on another one of his days off." SAM: "Sir, it seems to me, owing to the return of 10, that you of all people, also, owing to your visit to Cooper's 'Black Lodge' and seeing 12 different places at once? While inhabiting the body of Laura Palmer? Or vice versa as much of your account testifies, that you of all people should distrust 12's rather mysterious intentions." Albert lifts folder 'Dead Dog Farm' and peruses. ALBERT: "Yes, Sam, I realize that somewhere in the irony of all this, I of all people, Cooper chooses to expose to the insanity of Twinkle Twinkle Little Peaks. And yes, Sam, Chet in there appeared out of thin air." Albert slaps folder shut. ALBERT: "So I think its time we all started calling each other Agent Rosenfield, Cooper, Evans1, Evans2, Stanley, Desmond, and Cole. Ahem. And Truman." SAM: "And 'Undesignated'?" ALBERT: "I'm not going to talk about undesignated! In fact, we're not going to talk about undesignated at all! We're going to keep him out of this!" SAM: "Well put, s–, excuse me, Agent Rosenfield." ALBERT: "How does it feel, Stanley?" SAM: "Odd, Agent Rosenfield, odd. It will take some time getting used to. You are positive this is necessary?" ALBERT: "As positive anyone in this town can be sure of anything." SAM: "And Agent Cooper?" ALBERT: "He's where he needs to be. According to him, he's approaching the break in the case we need, whilst at the same time nearing some spiritual conjunction." Sam lifts folder, peruses. SAM: "At Dead Dog Farm? A property once examined for purchase by Agent Cooper 25 years ago. Instead, according to him, a copy of himself purchased Glastonbury Grove from Catherine Martell instead. Dead Dog Farm, owned by the County as seized and abandoned property. Location of cocaine trafficking. But leased by Martellcorps to subsistence Farmers who want to farm, but do not want to jump the hurdles. Home of the hog with which someone replaced the person of Juliette Renault." Cooper enters in civies, carrying three filling topped donuts. ALBERT: "Couldn't stay away?" COOPER: "Albert, I know you do not approve of me taking the day off." Cooper gestures to the screen and sphere. COOPER: "The Iconography Matrix. You see, Albert, I have been, am, and will be traveling through perception. One day I hope to understand it all. Traveling. Not dream nor vision nor false vision nor false dream. Nor quantum fragment. Albert, here's where it gets tricky. Not completely reality. Nor completely real, I might argue, but nonetheless, Albert, it is all real in every way possible, all at once. It's strange, Albert, the more I delve into the facts and lives of the people of Twin Peaks, I am both inspired and disheartened." Cooper sets donuts down. Sam inspects donuts: cherry pie filling topped, blueberry, huckleberry. COOPER: "But I am convinced, Albert, that the good people of this Town and County, and that within these threads of darkness swarming in Twin Peaks, that truth, light, and justice will prevail. From Twin Peaks all the way to Pearl Lakes, and to a third location, a triangle, Albert, I believe will have something to do with the convenience store and Shelly soon-to-be-Briggs' Baby Blue Charger." ALBERT: "You amaze me, Cooper." COOPER: "How so, Albert?" ALBERT: "Then I'm hooked. Then, to you're credit, you amaze me again, but then two amazes later we're half way to crazy, and we ain't coming back." Sam bites his lip. Sam hides a smile by inspecting the huckleberry and places it on a napkin. COOPER: "At times, Albert, you're humor is refreshing, and in that refreshing perception, it helps me to understand you're perspective." ALBERT: "Refreshing perception perspective. Got it." Cooper touches the screen. COOPER: "Audrey Horne." The Matrix zooms to a point of light with many connections. COOPER: "Traveling. Audrey Horne has entered the Black Lodge, a portal, still active in the metaphysical sense. But another portal exists, one I have already known about for 25 years. The Convenience Store they lived above. And a third, and I somehow know it also." Sam bites donut. Knock at door. Sam swallows through: SAM: "I.M. off." Screen dark. COOPER: "Enter." Shelly enters, smiling. COOPER: "Miss McCauley, thank you for stopping in. Congratulations on your engagement. Please have a seat." Shelly smiles, sits, glows. Cooper sits close to Shelly. COOPER: "Shelly, this is an informal greeting. Answer as freely as you like. No one's in any trouble." Cooper smiles. SHELLY: "Okay..." COOPER: "You saw Laura and myself at Sparkwood and 21?" SHELLY: "Yes." COOPER: "In your description of what happened the last time you saw Laura alive, you mentioned a picture frame?" SHELLY: "I kind of remember that, yeah." COOPER: "The Meals on Wheels recipient was known by the moniker 'Creamed Corn Lady' by Donna Hayward, all those years ago?" SHELLY: "That was her, Mrs. Tremond." COOPER: "Thank you, Shelly, just one more question, where did you last fill up your baby blue Charger with fuel?" SHELLY: "LG." COOPER: "Elaborate." SHELLY: "The Locked Gable Convenience Store." SAM: "Got it!" Shelly startles. COOPER: "How do you feel, Shelly?" Cooper helps her up, she looks surprised. SHELLY: "Um, Great! Norma says I can take over the Double R any day now, and Bobby and I, it's just a dream come true. He won't be strung out between two jobs, and we already have a new dream home being sketched ... we're getting married..." COOPER: "No, Shelly, how do you feel about Creamed Corn, Mrs. Tremond, and the Convenience Store?" Screen strange pixelation. SHELLY: "I'm pregnant, Agent Cooper! My baby has three Daddies, but only one of them is real." SAM: "We're in, Chief Cole." GORDON (VO): "Cole, Gordon Cole here. I can still hear me, Sam." LIL?/DIANE? (VO): "Sorry, Gordon, that was me." SHELLY: "Gordon Cole?" Gordon's image strange pixelates onto screen. GORDON (VO): "That's right, Mrs. McCauley Johnson Hurley Briggs. Shelly! I will never get the taste of those huckleberry pies out of my mind as long as I live! But with all these electronics in my head and elsewhere, I just can't hear you quite right. Guess I'll have to see you in person." SHELLY: "That would be nice, Gordon! But no kisses, I'm engaged." GORDON: "Pies. Go Coop." Cooper turns his pinky ring. Every movement of Cooper micro-ripples from Cooper. SUPERCOOPER: "Shelly, look at me. Pies. Soon the Log Lady will call on you. You must prepare yourself for that day. Use that insatiable joie de vivre you simply glow with, use it as you have used it before, to overcome such terrible tragedies that have already befallen you, and those to come. Do not go into the darkness. Shelly, come into the light. Pies." Ripples stop. Shelly shakes her head. SHELLY: "What was that, Agent Cooper?" COOPER: "We are done here, Miss McCauley." SHELLY: "Okay. I feel dizzy." COOPER: "Gordon will do that to a person, and I say that out of full respect, Gordon. Methodology. Gordon, how's Chester?" GORDON (distorted, VO): "No Strange Pixelation." Cooper thumbs up. Shelly a bit perplexed. GORDON (VO): "Thank you for helping the Bureau, Shelly. And I may just surprise you." SHELLY: "Bye, Gordon. Bye Agent Cooper, Rosenfield, ... ?" Sam wipes huckleberry from his lips, wipes his hand, extends it. SAM: "Special Agent Samuel Stanley." Shelly shakes his hand. SHELLY: "Two first names. Agent Stanley." The men watch her leave. They close the door. Gordon's image turns to Cooper. Cooper frowns. COOPER: "Gordon, tell me why, again, one of our own, Agent Chester Desmond, is to be exiled to USAFEON!" GORDON (VO): "Don't fight me on this one, Coop. They have the equipment already set up. Took the gals out of the field. Set them up over there. He's where he needs to be, Coop, and you know I'm next." COOPER: "Gordon, I caution you, EON1's experiments might be getting out of hand." GORDON: "Empirical data, Coop. Like this cold case your working on." COOPER: "Gordon, we will establish the perpetrators of Laura Palmer's desecration. We have already stopped distribution of and seized illegal fire arms. We are poised, with testimony and documents from Audrey, Gerald, and Benjamin Horne, to bring further charges against Catherine Martell. We have discovered methodologies and motives of dark arts practitioners, right here in Twin Peaks. We have seen Murder, subterfuge, and what I might describe as superfuge...'" GORDON (VO): "Enough, Coop. Take a gander at this." Gordon's image is replaced with an image of Lela and Aurora at EXT. PEARL LAKES - THE SHORE.

EXT. PEARL LAKES - THE SHORE - NIGHT

Lela and Aurora dressed as blond Lauralikes. They dip their toes in the lake with silver shores of pearled sand. Shiver. LAURALIKE 1: "Hi, fans! I'm Ivi L. Palmer, Laura's sister." LAURALIKE 2: "Hi, fans! I'm Eve L. Palmer, sister Lauras." BOTH: "Ivi, Eve, Lil, Bob!"

BACK TO CONFERENCE ROOM

Gordon's image is about to speak when Cooper holds up his salute. COOPER: "Lucy, what did you come up with?" LUCY (VO): "Copy Agent Cooper. Ivi, Eve, Lil, Bob. Renders 'I live, Evil Bob.' Over." COOPER: "Got it, Lucy! Good work!" GORDON: "Coop? Why the anagrams, palindromes, name repetition, backwards talk?" COOPER: "Gordon, I do not know. But I am sure that Maddy and Laura are communicating through the Flying Eagle Twins. However, I think it has opened up a doorway into all four of these twins' darker sides." ALBERT: "Thrilling." COOPER: "I.M. resume." Split screen: Gordon and Iconography sphere. COOPER: "Both Josie and Tremond are the Once Dead Woman. Because both are of a similar nature. Tremond is fully Black Lodge, like I believe Josie was. I do not know if we ever knew the real Josie. Josie's doppelganger died. The disappearance of the body weighing only 65 pounds. Tremond is the opposite of Josie. The real Lilith Tremond died long ago. We have been seeing the doppelganger from the beginning of Tremond. I believe the real Josie has returned, and I believe she will help us ferret out who the imposter Lilith Tremond is inhabiting." GORDON (VO): "Coop, your leaps are bigger than a grasshopper on a frog on a rabbit on a kangaroo." Sam nods. Cooper smiles. SAM: "Coffee." Sam moves to a carafe and pours himself a cup. Offers up carafe. Albert crosses his arms and shakes his head. Cooper holds up his salute. Cooper types on his Blackberry. COOPER: "Agents Cole, Rosenfield, Stanley, the Experiment in the Observation Room with Phillip Michael Gerard. I have seen seven centenarians. The living Jerard Renault, the living Placide Renault, Myself, and strangely, Audrey Horne. Bob. And the sixth, the dark one, the imposter Lilith Tremond. And now a seventh, Rosenfield, the living Midge Loomer. Ashes of the ghost." Sam rejoins the two, sipping, fascinated at Cooper. COOPER: "Rosenfield, as we track down one inhabitant, they kill one. Releasing the possessed person of their Black Lodge entity. Caroline inhabited Nurse Beatrice Roundtree. I believe we have an owl on the loose. The Black Lodge has chosen twelve spirits, twelve victims. I believe Nurse Beatrice Roundtree was a victim of the Lodge, just as I am sure Nadine Nelson is a victim of the Lodge. Nadine Butler has been under the influence of the Lodge for a very long time. They will be silent." Albert throws up his arms. COOPER: "Once there were two. Bob and Mike." Cooper regards two remaining donuts. COOPER: "Bob inhabited Leland Palmer, Mike inhabits Phillip Michael Gerard. Now there are twelve, Agent Cole. Twelve possessions, all at once in this very town. This very wonderful Town of Twin Peaks." ALBERT: "Yes. The Wonderful Town of Oz." Cooper smiles, Gordon concerned. Harry enters, carrying a dozen donuts in box. HARRY: "Coop, I remember! I remember when you said we are looking for the Once Dead Woman, that you said is Lilith Tremond. But Coop, I remember Josie telling me that she was the Once Dead Woman. I mean, I remembered, just now! Make any sense?" COOPER: "Two events simultaneous. Yes, Agent Truman! We are both right. You've fought it, Truman, since before your time. The darkness in these woods. Now it's high time to defeat it, in all its strange and malevolent perplexities." Albert is about to open his mouth, and thinks better of it. COOPER: "Possessions. Here is who I propose is inhabited by whom. Roundtree by Caroline. Leland by Bob. Leo by Bob. Juliette by Theresa. 'They killed me, Placide. They killed me in Deer Meadow, but I floated down to Wind River. The Deputy who found me was killed by a Twin Peaks cop. After they killed me, they killed Laura.' Nadine by Pete. Catherine by Windom. Daniel by Leland and Bob. Aurora by Laura and Maddy. Lela by Maddy and Laura. But Tremond inhabiting Heidi? Solely based on the 'creamed corn' utterance? No, Agent Rosenfield. We need something more tangible. Something precise. Donna Hayward may be able to detect the presence of some inhabitants, but hers is a singular journey into the unknown." Cooper turns to Harry. COOPER: "Truman, prepare yourself. Lucy and Andy's daughter." HARRY: "Abby." COOPER: "Abigail Brennan has seen a woman who could be Josie's twin." Cooper hands Harry a flight manifest. HARRY: "Jocelyn Lin. I don't believe it." COOPER: "I believe this Jocelyn is linked to the Creamed Corn Lady, the imposter Lilith Tremond." HARRY: "But that was Josie's maiden name, before she married Andrew Packard." COOPER: "Whatever dark and terrible pact Andrew Packard and Thomas Eckhardt entered in on all those years ago has come to fruition." GORDON (VO): "Coop, facts. Fact: This woman, Jocelyn Lin, has dual citizenship, the States, and now _you_ brace _yourself_ , Agent Cooper. Tibet. Don't like coincidences. Leave a funny taste in your mouth. Like the mint-chocolate-chocolate-chocolate chip muffins and 'rainy night' herb tea blend at the Double R. I'd just as soon wash it down with a good cup of joe. But that's a lot of caffeine, Coop." COOPER: "Agent Cole, besides the incontrovertible evidentiary links to Leo Johnson's Trans Am and Juliette Renault's PT Cruiser, we only have the hair, once Leo's now Bob's, Bob being the Name in the Darkness. Real evidence, Cole, linking something dark in the Palmer Family. Two Grandfathers both named Palmer. Two names. Bob is returning, Agent Cole. But he's not going to be who you think he or she is. The Reckoning." GORDON: "Coop, today you remind me of a large Siberian Saint Bernard." COOPER: "Got it, Gordon. Let me again relate the vision that Laura, Albert, and I traveled through."

INT. BLACK LODGE - STOCK & _NEW FOOTAGE_

The entire floor of the Lodge has been shattered in earthquaked chevronned mountainous rubble midst gigantic jagged boulders. A vast scape showing red curtains? flames? miles away. The chevrons on every broken piece oscillate forward, as if each were a video screen, in every direction. Throughout the quakescape crawl people, with tiny red curtain/flames licking over the surface of their skin and clothes. They scamper up a mountain of chevrons, above whose stratospheric summit shines a red star in the zenith of the sky. We travel through the smokey red-reflected sky. All backwards speak, and turn to speak directly to Cooperflux and _Albertflux_. _Albertflux_ and Cooperflux float by people, and watch, holding hands, stoic. Bob's contorted left arm appears in green fractal sprays as it reaches in from [S3:E11:A7 Double R] and touches Windom's forehead. Arm withdraws. WINDOM: "I hate that plastic girl." CAROLINE: "I TOLD you, Dale, no rings!" PETE: "Mike and I are in love!" ONE ARMED MAN: "His name is Bob." LEO: "Catch you with my death bag!" ANNIE: "Who's Annie?" BOB: "You broke my heart!" LELAND: "Well, I just might be more than a spell." _LAURA: "Has anyone seen Bob on Earth?"_ CHESTER: "No one came to claim the body." HEIDI: "My Grandson's a magician!" MAN FROM ANOTHER PLACE: "Sometimes things can happen just like that." Snaps finger. MAGICIAN: "I've got good news!" HAWK (VO): "When the four in the White Lodge send a message, the Little Man in the Black Lodge will go mad." Man From Another Place cuffs his ears and shutters, vibrates, trembles. He oscillates in the tremble, blurring. HAROLD SMITH: "Hey, girls, can I light a fire under there, or what?" MADDY: "Why does it stink so much?" DONNA: "Nobody loved Laura but us." BOBBY: "I'll see you in my dreams." CARL RODD: "I've already gone places." TREMOND: "I couldn't get my car started." JOHNNY: "Amen!" JULIETTE: "They killed me in Deer Meadow." RONETTE: "Don't go there." NICKY: "Oui, Maman." ROUNDTREE: "It's me. It's me." WAITER: "Coffee? Coffee? Coffee?" CATHERINE: "You'll learn, as I have, the value of hate." AUDREY: "Morning, Colonel Cooper." ROBBY: "I raise orchids." THE MONKEY: "Judy." PHILLIP: "JUDY!" Phillip points to Evil Dale. EVIL DALE: "How's Annie?" DANIEL: "That's my favorite gum in the whole world." NADINE: "She's dead. Wrapped in plastic." THERESA: "Dix mille dollars Canadien." Theresa's contorted left arm disappears in green fractal sprays as it reaches into [S3:E11:A7 Easter Park] and touches Catherine's forehead. BACK TO LODGE. Arm withdraws to normal. LELA: "Aunt Sarah, I had the strangest dream last night." AURORA _(screaming): "Meanwhile!"_ Aurora poses her hands as Laura's.

BACK TO CONFERENCE ROOM

Albert snaps out of his mind's eye and looks to Cooper. ALBERT: "Twelve possessions?" COOPER: "Just as then we learned of Bob's possession of Leland. Leland may be one of the ones I have already saved, according to the Giant. The twelve I had first supposed were twelve women of Twin Peaks. Then perhaps the embryos. I am now convinced I must save these 12. 3 are in the woods. The other nine: Nadine, Juliette, Heidi. Catherine Martell. Leo Johnson. And yes, Daniel, Aurora, and Lela. And the ninth whoever Caroline or any other entity inhabits next. But the One Armed Man is known to us. He is not in the woods." HARRY: "Killed by a Twin Peaks Cop? This happened 25 years ago?"

S3:E17: ACT NOON

EXT. DOUBLE R CAFÉ - DAY

Caption: '12pm Friday, March 11, 2016'. Patrons enter the busy café. Bobby's red Ninja by Shelly's baby blue Charger. Looking through window, into café, we see the tall 'daily special' flat screen.

INT. DOUBLE R CAFÉ - DAY

The flat screen shows 'Commonwealth Day' 'Monday, March 14' 'Canadian Nationals: 25% Off Everything!' Video shows meals and burgers, pies and donuts, sodas and coffee. Norma stands at a booth with Midge Jones, who sits with her grandchildren, a boy of five, a girl of six. NORMA: "How are things at the Triple J?" MIDGE JONES: "Honey, 'Repurpose Reuse Recycle' means work, work, work." NORMA: "Yeah, it's high time we both retired. So what's on the horizon?" MIDGE JONES: "Well, Larry doesn't want the place. Guess I'll end up selling it to Horne. Catherine, well, she can just go fishing!" Norma and Midge chuckle. NORMA: "Well, I think we should form a cooperative, and keep our businesses out of both their hands." Midge looks surprised. MIDGE JONES: "No argument from Grandma." NORMA: "So what'll it be?" Kids look expectant. MIDGE JONES: "Three little dippers, two cherry, one huck." Kids nod enthusiastically. Norma has a genuine smile. GRANDMA JONES: "Ain't no better behaved children in all of Christendom!" Norma nods. Kids nod. Grandma nods. Norma touches each of their noses. They giggle. Cooper enters, and moves to counter, removes black gloves. In a back booth, Bobby has his head down in his arms. Shelly stands over him, rubbing the leather of his jacket. Cooper looks up from his e-tablet menu. COOPER: "Irene?" IRENE ROBERTSON & IRENE LITTLEHORSE (OS): "Yes?" Cooper surprised, and turns to Irene Littlehorse, the Native American Real Estate Agent. COOPER: "Irene Littlehorse! You once showed me Dead Dog Farm, used by cocaine traffickers 25 years ago. Forgive my manners. Irene Robertson, this is Irene Littlehorse." ROBERTSON: "Pleasure." LITTLEHORSE: "Likewise." Littlehorse turns to Cooper. LITTLEHORSE: "You bought Glastonbury Grove." COOPER: "Indeed, I own it to this day." LITTLEHORSE: "Best and the worst." COOPER: "Are drawn to Dead Dog Farm." COOPER: "Thank you, Miss Littlehorse." LITTLEHORSE: "Chief Littlehorse, Kalispel tribe." COOPER: "Aces! Ms. Robertson, two cups of scalding black coffee." Irene Robertson exits toward coffee pots. CHIEF LITTLEHORSE: "We know of your journey. The pearls." COOPER: "Pearls?" Robertson returns, pours coffee. Chief and Cooper sip. ROBERTSON: "Have you decided?" Cooper regards the tablet and the blithering options for pie and accouterments. COOPER: "My God, the pies have grown exponentially! I will have the pumpkin spiced apple, heated, vanilla ice cream. ... Chief?" CHIEF LITTLEHORSE: "Cherry, two forks." Robertson exits. COOPER: "Two forks?" CHIEF LITTLEHORSE: "One for our ancestors. That's why our conversation began in the past." Cooper broad smile big thumbs up. Wink.

Enter Audrey Horne. White veiled wide brimmed amber hat. Gold piped black gloves. Glowing in gold and black ensemble. Cooper lifts his cup. Audrey smiles. She moves to jukebox. Irene returns with pie. Music begins. Audrey lilts toward Cooper slowly. Cooper takes a bite of pie and ice cream. Audrey stops before Cooper. We see that half the guests of the Double R are staring. Shelly rouses Bobby to stare also. AUDREY: "Agent Cooper, I remembered something important. That picture frame, it must be in Laura's room. I saw the ceiling fan in Sarah Palmer's house." COOPER: "Thank you, Miss Horne. Would you care to join us?" Audrey bites her lip, smiling. "AUDREY: "No thank you, Agent Cooper. Donna's bridal shower tonight at Sarah's." COOPER: "Yes, and James' bachelor party tonight at Big Ed's." Audrey takes Cooper's cup of coffee and sips slowly, warming her hands and lingering. COOPER: "It's cold today. I wish you would convince your sister to have the ceremony indoors." AUDREY: "It's getting warmer. And you're getting warmer, too." Cooper smiles. Audrey places the cup gently down and exits slowly, lilting toward the door. CHIEF LITTLEHORSE: "She likes you."

With Bobby and Shelly. BOBBY: "That's all they asked you?" SHELLY: "Word for word, Bobby." BOBBY: "What the f*ck is all this picture frame sh*t?" SHELLY: "I don't know, Bobby. It's Cooper, he's so goofy anyway. Listen, Bobby, I know something's wrong. I can feel it. Like when you were (whispered) 'messed up with Leo and Jacques.'" BOBBY: "Baby, that's dead and buried. Now come here Baby Mama." Bobby issues Shelly to his side. Bobby rubs her belly. Shelly looks around, and takes his hand from her stomach. BOBBY: "I know I haven't been there for you, Baby. F*ck! I just need to get my sleep resituated. I thought this was going to get easier. F*cking Jacoby. F*cking Hurley. F*cking Hayward." Shelly looks down. SHELLY: "Bobby..." BOBBY: "Oh, yeah, f*cking Paulson." Shelly begins to tear up. BOBBY: "Oh, Baby, no no no. I didn't mean it like that. Shelly... Babe, you are the only light in my life. I love you. I just got to do what I got to do." SHELLY: "Let me help. I love you." BOBBY: "You can't. F*cking Agent Desmond rises from the grave. I got to see Mike." Bobby moves to exit, stops, turns to Shelly and a kiss. Shelly watches Bobby leave. Norma watches Bobby leave. BOBBY: "Norma, I'll see you in my dreams." NORMA: "Not if I see you first." Cooper watches Bobby exit. LEO (VO): "Bob's left. Bob's right. Bob's down. Bob's top. Bob's up. Bob's back." Cooper looks up.

EXTS. MONTAGE - TWIN PEAKS & SHERIFF'S STATION - DAY

Dead Dog Farm - Poster 'Twin Peaks County Property' nailed to tree dripping with sap. Waterfall seen from Observation Deck. Triple J Junk Yard's Curiosity Shoppe - Closed and dark. Mo's motors doing thriving business. Big Ed's Classic Auto Repair - Closed, Catherine's 1929 Rolls Phantom gone. Tim & Tom's Taxidermy - window poster - 'It is ILLEGAL to trap, kill, stuff, or sell Mountain Pine Weasel' 'County statute'. Horne's Department Store display window 'Men's Spring Fashion Blowout'. Sheriff's Station Sign & back of Sign - in the supports of the sign, a wren's nest and a landing yellow wren with twig.

INT. SHERIFF'S STATION - HARRY'S OFFICE - DAY

Harry enters, carrying a chocolate donut on a plate and cup of black coffee. Harry surprised to see Catherine, seated. HARRY: "Hello, Catherine. What? No lawyer?" CATHERINE: "Harry, we need to talk. All this Josie business. Harry, do you remember when I told you of my ordeal in the woods after the mill burned?" Harry sits at his desk. HARRY: "Yeah, maybe, but not all the circumstances." CATHERINE: "Did you believe me?" HARRY: "At the time yes, but now I'm starting to doubt that. I've known you for too many years. You have a way about you that don't always rub the same way as the truth. And sometimes the way you talk to people, Catherine, you should be ashamed ... and all this tragedy with Laura..." Catherine fiddles with a pawn on Harry's chessboard, replacing it carefully. CATHERINE: "Forget Laura, if that's possible in this town. Demonized lionized Laura Palmer. Forget about that. Do you believe me, that my guardian angel saved me from death?" HARRY: "Well, Catherine, as a matter of fact, I do. That doesn't mean I believe you now." Harry offers Catherine the donut. She flips her black gloved hand back, waving it away. Stands. CATHERINE: "Good. I'm going to tell you something I haven't told anyone, but Pete, God rest his soul, mostly in drunken solitary soliloquies..." HARRY: "I'm listening, Catherine." Harry bites the donut. CATHERINE: "I'm haunted, Harry. Haunted by memories of Josie and what she did. Haunted by Pete in my mind. His old phrases and nonsensical grasp of human language. But Harry, I am haunted by a spirit man." Harry swallows, intrigued. CATHERINE: "I do not know his name, and I only see him when, well, that part's a secret. He's shown me things, Harry. Images mostly, either of himself, or darker strange happenings in these woods, in Twin Peaks, Town and County." Harry sips. Catherine stands, dusting off her black gloved hands. CATHERINE: "I've even been shown things that are to horrible to remember, and stranger, they fade from me, my own strong will I suppose. But Harry, I hope you're listening. He's the one who has done all these crimes. He's like your 'Bob' fellow, I think, because I feel like I know him, but sometimes he makes everything backwards, until I'm so mixed up, well you can imagine." Catherine turns, gesturing her hand in twirls. Harry looks almost horrified. CATHERINE: "To make a long story short, the reason I am telling you this, is because of Pete, yes Pete." Harry watches her turn back to him. CATHERINE: "Pete clearly, succinctly whispered in my ear three things: one, 'Josie is coming back.' Two: 'This is your last chance, Catherine.' And three: 'Go tell Harry, Catherine. Go tell him about your angel and your demon, Catherine.'" Harry stunned. HARRY: "Wow, Catherine, that's some story. I got to talk to Cooper on this one. What made you decide to come to us now?" CATHERINE: "Pete." Catherine swats her hand in the air. CATHERINE: "He just won't stop flying around my head." HARRY: "Catherine, let me tell you something, we know you went around as that Tojamura guy after the mill burned, we know, it ain't in no record book, so how is it you are saved by the angel in the woods, then you're Tojamura then all of a sudden, you're back from the woods?" CATHERINE: "It was a disguise!" HARRY: "I know that, Catherine." CATHERINE: "Not Tojamura, me as if I had just come from the woods. It was easy to replicate, because I had undergone it once before. I was lost in the woods, survived, made my way to Pearl Lakes, then made it back in time to master my disguise, and returned to you dressed in the same clothes I survived in." Harry eats last bite of donut. HARRY: "See what I mean by rubbing against the truth?" Harry rubs his stomach. HARRY: "Now tell me, Catherine, who do you think this Jocelyn Lin is anyways? She's back from the grave kinda like the way you once were. Wonder if an angel brought her?" Harry inspects Catherine's reaction: mild shock, smiled away. CATHERINE: "Shenanigans! She's full of shenanigans!"

INT. CONFERENCE ROOM - DAY

Sam taps a pencil on the table. SAM: "Don't you find it strange, Agent Rosenfield, that Cooper started using the last name protocol, without even being ordered to do so?" ALBERT: "He's on a different plane of existence. My worry is he's on a plane with no pilot." SAM: "Another thing has always bothered me, Rosenfield." ALBERT: "Many things bother me. What is it?" SAM: "Why would Roundtree choose to use the VRUV7 to disguise herself as you?" ALBERT: "To frame me. But more importantly, to catch Phillip Michael Gerard off guard, Stan." SAM: "Stan. That's very amusing, Blue Rose in Field." ALBERT: "Got it."

EXT. GREAT NORTHERN - TENNIS COURTS - DAY

The Tennis courts showing sign: 'THE LORN REALM' golf course and a peculiar retaining wall, an exact duplicate of the silhouette of the Great Northern, pool jaws open, with peculiar additional circular purple clear plastic to protect helipad. This odd shaped wall prevents stray shots from the nearest part of the course toward the Great Northern. Cooper stands near the teeing green of the first hole, bundled in trench coat and black gloves. COOPER: "Diane, the silhouette of the real Great Northern and the wall, together, Diane, I think is just picturesque. Diane, I have tried to wheedle Doctor Shelvy on information about Doctor William Hayward's broken arm, but she of course, will not release patient information to the Bureau, good call! And because I am under restraint from the Bureau on pursuing the medical anomalies, I am thereby listing my current conversation to you, though I do not like to communicate this way, as casual. Subcategory psychological. Supercategory Matrix Evaluation. It bothers me, Diane, to not have the full confidence of the Bureau at times. I agree with their decisions implicitly, of course. Wait, check that, Diane. I had instantly forgotten you are a real person. By that I mean, your professionalism in this my darkest and brightest hour. That just doesn't sound casual. Check that Diane. I would like to be more open, and I seem to be, but at the same time, as a fully disciplined Bureau Man, I am therefore drinking in all facts around me, but cannot release them." Cooper looks at the strange purple circle, and its sun glints. COOPER: "Diane, I know why hell wants Twin Peaks. It's beyond astonishing here! Take a moment from your work to breathe in these woods." Cooper breathes in. COOPER: "Sometimes I feel like it seems unlike anything else in the entire world. But then my arms bend back. It's happening again, Diane. Be on the lookout for a tall man or woman with two sets of eyes. New entry. Subcategory: Iconography. Diane, please process my request for Lucy Brennan. I would like to cross reference into the grid much of Lucy's perception." Cooper watches a golfer tee off. COOPER: "Diane, Lucy Brennan possesses an eidetic memory like myself. Unlike me, she is comfortable with its processes. I, however, am searching. Among those memories. For solutions, for facts, for truth." Cooper looks toward waterfall and Black Lake. Cooper breathes in deep. Exhales. COOPER: "Diane, I now must confront Audrey Horne. Pray for me, Diane." Cooper touches his earpiece.

EXT. GREAT NORTHERN & WATERFALL - DAY (CGI)

We follow the flow of Black Lake toward the brink, the noise of the falls ever closer. As we reach then topple off the brink, POV WATER DROPLET: The droplet wildly tumbles, sending our view into frenzied swirling looping perspectives of forest, cliff, and the falling shatter.

INT. GREAT NORTHERN - TIMBER ROOM BAR - LATER - DAY

In a far corner of the room, Cooper sits with Audrey, two cups of black coffee. Audrey traces her finger along her cup's handle, regarding it. She smiles. AUDREY: "Daddy's pissed." COOPER: "In order for both you and your Father to escape prosecution, these things are necessary." Audrey looks up, melting in Cooper's placid expression. AUDREY: "Why did you kiss me last night?" COOPER: "I have grown very fond of you, Audrey. But I asked you here today to inform you that it can go no further. I neither regret it, nor did I do it in haste. If we are to pursue this, two things must be made eminently clear. One, I will not show any preferential treatment toward you as a cooperating witness, and two, I will wait, and I hope you will wait, until the Bureau closes all cases in Twin Peaks. This may be some time, owing..." AUDREY: "I do." Cooper surprised. AUDREY: "I meant 'I will.'" Audrey smiles. Cooper smiles. COOPER: "Now, the Bureau will set times for you to appear. I may not always be there, but you must nonetheless tell the whole truth at all times, no matter who interviews you. I formally caution you, a single lie will doom you to a misery of charges." Audrey dips a finger in her coffee, swirling it. AUDREY: "I love you too." Cooper smiles, shaking his head. COOPER: "Then you know what to do." Audrey sucks a droplet of java from her finger. AUDREY: "I promise, Agent Cooper, with all my heart and soul." Audrey turns to see Bobby walk through the Timber room. Cooper regards both Audrey and Bobby. Bobby marches through, wearing a navy blue designer suit.

INT. GREAT NORTHERN - PINK SWEAT SERVER ROOM - LATER - DAY

In a bay of 30 screens, a dozen staff members work computers. Rows of servers line the labyrinthine Bay. Bobby looks over footage [STOCK and NEW] of James and Donna, taken from cell phone and security camera ANGLES: James and Donna, giggling and tickling their way toward the grand foyer entrance of the Great Northern, dressed in formal gown and tux. James at Big Ed's Classic Auto Repair working on Catherine's 1929 Phantom. Donna at Horne's Department store working as manager. James and Donna entering the Town Hall to register for marriage certificate. FADING into these shots, two stills: James, facing away, sitting on the side of his Electra Glide, looking off into Ghostwood Forest and a far opposing cliff; and Donna, holding her arm, on the Observation Deck above the waterfall. Final footage; James and Donna in the Gazebo. Bobby presses a button. Screen shows:

EXT. TWIN PEAKS & SKY - HELICOPTER ANGLE - DAY

Caption: "Pink Sweat Proudly Presents' 'The Wedding of James Hurley and Donna Hayward'. Traveling over Black Lake to the falls, over the falls, down river to Easter Lake to just above the Gazebo at Easter Park. Camera angle begins to rotate slowly. 'All Around the Mulberry Bush' music plays. Caption: 'Live presentation of the ceremony.' 'And see Pink Sweat's reinterpretation' 'Your avatar there!' 'Live!' 'And in the stars forever!'

INT. GREAT NORTHERN - COOPER'S ROOM - LATER - DAY (CGI)

Cooper sits on the side of his bed, a protocol 12-13-14 silver envelope on his head. Although we hear nothing, it is obvious Cooper is speaking underneath the bag. We travel through the bag to see Cooper's face, lit by changing shots he views. We do not see these views. COOPER: "Show Margaret Lanterman. Show Donna Hayward. Show Sparkwood & 21\. Show Dream Onward. Show Carl Rodd. Show Daniel Palmer. Show Margaret 'Honey' Honeycutt. Show Mike Nelson. Show Betty Briggs. Show Betty Briggs." We turn inside the bag to the inner bag's screen. Caption on screen, 'No images available.'

S3:E17: ACT THREE P.M.

EXT. CALHOUN MEMORIAL HOSPITAL & NADINE'S WINDOW - LATER - DAY

Caption: '3pm Friday, March 11, 2016'. The bright white hospital facing the midday sun. A window glints against the blazing sun. An open window.

INT. CALHOUN MEMORIAL HOSPITAL - NADINE'S ROOM - DAY (CGI)

Nadine asleep, her red tangles drifting across her face. As Cooper talks to her, she doesn't move. COOPER: "Nadine, I hope you can hear me. The night I appeared to you, when they stole your plastic and Benjamin Horne drove by, what did I look like?" NADINE (VO): "Like all my creations, silly. You sparkled and sparkled and sparkled." Nadine opens her eyes. Cooper smiles. Nadine's particularly sparkling chestnut eyes.

SPLIT SCREEN - NADINE & COOPER (CGI)

Slowly zooming to Nadine's healed eye and Cooper's 'winking' eye. Split screen swirls and merges the two eyes. COOPER (VO): "I am the One Eyed Man. NADINE (VO): "I am the One Eyed Woman." Nadine/Cooper eye stares at us.

BACK TO NADINE'S ROOM (CGI)

We now see Nadine seated up, the restraints dangling at the floor. COOPER: "Why did you respond, 'Not really,' when asked if you saw me that night?" NADINE: "Because, like all of my creations, something was missing." COOPER: "By God, those drapes will be silent." Nadine nods, hiding her embarrassment in her hands. COOPER: "I know, Nadine, that they haunt you. But soon I will show you much of what all this means, and the other side, a side of light, love, and perfection. But first I must ask you one more question-" NADINE: "This is the last time we can ... communication end for me." COOPER: "Nadine! Focus. Do not dream now." Nadine claps, jubilant. NADINE: "Okay! Beginning iconographical quantum-universal interface." COOPER: "Stay with me, Nadine." NADINE: "Okay." COOPER: "Can you silence the owls?" Nadine stares up with moist sparkling sienna lashes. NADINE: "But my greatest creation is..." She shies from his glance. NADINE: "Is Mike. He's been the best he can be, for me. I love him so much, Agent Cooper." COOPER: "Yes, the light. Go into that light, Nadine, and in that light, use all your strength to heal yourself. If anyone on Earth can do that, it would be you Nadine, God willing." NADINE: "Goodbye, Agent Cooper. Eddy is sweeter than Mike, but I love Mike because he believes in me. But you have them both beat on charm." COOPER: "Goodbye, Nadine." NADINE: "Interface ... The Pickup Man is here, well, to ..." Nadine hides her face. NADINE: "You know, to pick me up." Nadine holds her hands to her heart. NADINE: "PLACE DIGITAL EDIT HERE ... quit. Interface." Nadine wilts to her bed slowly, a fairy tale drift backwards as if through miles of downy pillows, only to have her shackles snap onto her wrists in REVERSE MOTION as if they were torn from her bloody wrists. She sleeps placidly, uninjured, glistening sparkles at her eyelashes. Cooper shutters. Calms. Smiles. Pats Nadine's hand. COOPER: "Stay strong. Stay in the light, Nadine." GARLAND (VO, Cooper's earpiece, 'fractalized'): "I'm receiving interference from the Log Lady, and Sarah's just not herself these days." SUPERCOOPER: "Got it! The limousine!"

EXT. PALMER HOUSE - DAY

Sarah examines her early budding lilacs and selects some unopened buds. Sarah is bundled against the cold in a thick maroon sweater with hood. A strange green panic button hangs from her neck. Sarah's black gloved hand snaps some buds with clipper. She throws the buds to a large cloth containing a few red tulips and bunches of bright yellow daffodils, cut close to the ground, showing dirt. Sarah tosses the clippers into the cloth, wraps it, and heads toward her front door. A long wooden ramp has been installed over the steps of the front door. As Sarah approaches the entrance of the ramp, she sees Daniel's tan 2014 Chrysler 300 with tinted windows. Sarah motions to unseen passengers to come forward as Sarah enters house.

INT. PALMER HOUSE - LIVING ROOM - MOMENTS LATER - DAY

Sarah has plopped down on a sofa, a touch exhausted. She sits beneath the round decorative mirror where once she first had the vision of Jacoby stealing the half heart pendant James and Donna buried so many years ago, the mirror with Bob. The bundle of greens and flowers beside her. AURORA (OS): "Aunt Sarah?" Sarah blinks and motions Aurora and Lela in. SARAH: "Close the door and lock it, girls." Sarah's eyes light up, seeing Aurora looking so much like Laura, and Lela so much like Maddy. Sarah holds out both hands, and Aurora and Lela lean and grasp them. Sarah smiles warmly. SARAH: "Thank you both for coming early." They nod, their eyes welling. SARAH: "I know this hasn't been easy for any of us." They nod. SARAH: "And thank you for being good girls at that Legacy Court. Silly, isn't it?" Aurora nods, Lela snickers. Sarah pats the sofa next to her. Lela sits to Sarah's left, Aurora moves flower bundle to another chair and sits to her right. SARAH: "Now, I know you girls have been mean to my Laura." Girls look down. SARAH: "Look up, ladies. A mom can handle a few mischievous antics. I know the Hornes put you up to it. Water under the bridge. All I ask is you try to be better. Pfft! I ain't perfect either, girls. Heck, I don't know if the two of you hate me for what I did." AURORA: "No, Aunt Sarah, no. Oh no." LELA: "No, Aunt Sarah. I'm sorry." SARAH: "Don't you worry. And don't either of you be sad. Today is a new day. I want you both to be happy, the way my Laura never could be. Part of that is not giving in to the darkness in this world. All I ask is you try." TWINS: "We will." Sarah smiles. SARAH: "Well, first thing, before the ladies start getting here, I sure could use some help." Girls nod. Sarah smiles. SARAH: "But I got some rules, too." Girls nod. We pan up and angle down to see the three through the mirror.

INT. 'THROUGH THE MIRROR DARK' OF PALMER HOUSE - LIVING ROOM (CGI)

As if looking through the round mirror, a glass window into the room. Lela and Aurora reach to hold Sarah's hand. Though the room glows particularly bright with spring sunshine, the bundle of greens and blooms lit by glowing sun sprays, the pane of the mirror casts a pall of shadow. We do not see Sarah's face from this vantage, only the twins staring up to her. SARAH (VO): "Through the brilliance of futures and pasts, the genius longs to see, one sings out between two worlds, light, walk with me." Sun sprays brighter. AURORALIGHT: "Mom, I want to tell you the truth." LELALIGHT: "Uncle Daniel. He made us register at Twin Peaks High School. He makes us do those videos. He took us to Pearl Lakes." SARAH (VO): "I know, girls, I know." AURORALIGHT: "I'm sorry too." SARAH (VO): "I want you girls to listen. I know your sister Laura is here. And your sister Maddy. All my daughters here." Aurora and Lela look down. Aurora and Lela hold their hands in the 'meanwhile' pose. Sarah, Lela, Aurora fade away. Replaced by:

INT. 'THROUGH THE MIRROR OUT OF TIME' OF PALMER HOUSE - LIVING ROOM - NIGHT (CGI)

In the blackness, a perfect circle view of living room, having odd reflections, as if staring into a mirror. Cooper, Garland, Margaret, Sarah sit in four opposing vine fabric easy chairs. At their center, on a square end table, the Log stands upright. Through the round porthole, the Four, their chairs, the Log and end table remain still whilst the room slowly rotates clockwise. Their voices have the echo of the woods, as if outdoors. SENDER: "I am the Cooper." MESSAGE: "I am the Garland." TRANSLATOR: "I am the Pearl." RECEIVER: "I am the Mother. I am receiving." LOG (VO, GREYSON, booming): "I AM THE LOG!" COOPER: "I'm sorry, Sarah, could you tune down the modulation?" Sarah nods. LOG (VO, GREYSON): "I am Margaret's Husband. I am the illumination. I am Greyson Lanterman. I am the Lantern Man. I am the Log!" COOPER: "Garland, repeat the message, decreasing its amplitude." Garland nods. LOG (VO): "Maggie? It's me, Greyson." Margaret smiles. COOPER: "Perfect!" Margaret turns to Cooper. MARGARET: "Hush, you." The room stops rotating. Though still seated, the Four remain as the chairs and end table disappear. The Four seated in air around the floating Log, all growing transubstantial in the rotating room. Margaret transforming into Greyson, as Log disappears.

INT. 'THROUGH THE MIRROR BRIGHT' OF PALMER HOUSE - LIVING ROOM - DAY - FADING TO INT. WHITE LODGE - NIGHT (CGI)

Continuing to stare through the porthole of the round mirror. Budded vines rivulet up four opposing white marble thrones under a moonless midnight in the forest. Though night, the mirror casts a blanket of shimmer on everything. At the thrones' center, a four-faced quadroGiant faces the seated Garland, Cooper, Greyson, Sarah. COOPER (simulwards speak): "The Nowhere Man." GARLAND (simulwards speak): "The Nowhere Man." GREYSON (simulwards speak): "The Nowhere Man!" SARAH (simulwards speak): "The Nowhere Man." The only one transubstantial, Audrey, walks in from behind Cooper's throne. In a forest green evening gown, split to the thigh, revealing green fishnet stockings above one red over the knee stiletto left boot, right green. Audrey puts her right hand to hip, examining her emerald fingernails on her left. GIANTS: "She is not here. She is not there." LOG LADY (VO, simulwards speak): "The Nowhere Man." Greyson forms into the Lantern, the Lantern into the Log, the Log into Margaret. Audrey stomps her red boot as she disappears transubstantially. MARGARET (simulwards speak): "The One Legged Woman. The Nowhere Man." Sarah, Cooper, Garland turn to Margaret. GIANTS (simulwards speak): "The Nowhere Man."

The circle of the mirror we are viewing the White Lodge through grows smaller in the blackness. Arms appear, reaching toward the receding White Lodge circle and particular person, from the periphery. Contorted arms. Centenarian Tremond toward Margaret. Jean-jacketed Bob toward Sarah. Creamed Corn holding Magician toward Garland. Dancing Arm From Another Place toward Cooper. The circle grows smaller to nothingness as the arms retreat.

INT. PALMER HOUSE - LIVING ROOM - LATER - DAY

Betty Briggs stares down to a single square napkin, tracing its outline methodically. Eileen wheels closer to Betty and nudges her. BETTY: "Sorry." Betty rolls napkin and hands it to Eileen. The twins are setting out tablecloths and placing bouquets. Eileen rolls napkins into napkin rings. At the front door: a knock. Sarah, seated, writing names on name tags, looks up. Eileen drops napkin rings. Aurora rushes to help her. The rings roll. SARAH: "Why Benjamin Horne, bless my stars!" One ring rolls to Ben. Ben picks up ring, greets a smiling Sarah. BEN: "Sarah, it's been far too long. The place looks wondrous. Donna will be elated." Ben hands ring to Lela. Lela scowls at Ben. Ben perfunctorily nods to Lela. SARAH: "Suppose you want to talk about the settlement. I have things to do for tonight. The Foundation-" Ben waives his hand. BEN: "A trifle. Sarah, my dear, my daughter, Donna-" Sarah looks down. Ben leans in. BEN (whispered): "Donna is asking questions about the embryonic procedure." Eileen wheels over. The twins intrigued. Betty issues girls to kitchen. SARAH: "Pfft! Donna's a curious one. I like her, she's got grit." BEN: "Yes, of course. Sarah, its time we all sat down, all of us." EILEEN: "Benjamin." Ben takes Eileen's hands, and she shies them away. BEN: "Eileen. Yes, Eileen, all of us." SARAH: "What? You, me, Sylvia, Will, Eileen, and Donna, I suppose?" BEN: "Yes, Sarah. And Beth. And Daniel." Sarah shakes her head. SARAH: "That ain't ever happening." BEN: "We were all involved, Sarah." Sarah busies herself with name tags. SARAH: "I'm too busy, Donna's wedding..." BEN: "Sarah, you don't want this to all come out at the wedding." EILEEN: "You wouldn't dare." BEN: "Me, never. But Donna is a very willful daughter." Sarah puts down her pen. SARAH: "Pfft! You can say that again. Okay, after the wedding. But I want Daniel guarded by one of your thugs." BEN: "Easily done, and he doesn't even have to know." SARAH: "I will tell Donna." EILEEN: "I can convince Will, but you'll never get Doctor Terrence Stanicek to agree to anything." BEN: "I already have. It's for Donna, after all."

S3:E17: ACT SIX P.M.

EXT. SHERIFF'S STATION - NIGHT - ESTABLISHING (CGI)

Caption: '6pm Friday, March 11, 2016'. As if through the Mirror Dark, in a circle, the Station in a pall of shadow far away. Surrounding the circle, the environs around the Station, but tarnished as if through vaporous blood.

INT. SHERIFF'S STATION - CONFERENCE ROOM - NIGHT (CGI)

 _On the conference room's large flat screen, the crudely animated version of Cooper's vision at the Asylum and the masked goggled capped and face shielded nurses, and Areol, the mess of deformity._ Cooper touches the large flat screen. _Names with pictures appear. By Cooper, 'Cooper' a smiling FBI ID photo, by Areol, 'Laura' the Homecoming Queen photo, by Nurse 1: 'Roundtree' a nurse's badge photo, by Nurse 2, 'Rosenfield' a dour FBI ID photo, by Waiter, 'Renault' a Great Northern ID badge. And as Laura's angel floats in, 'Laura's Angel' a black square captioned 'No Photo Available.'_ Cooper freezes animation and turns to Albert, arms crossed. COOPER: "Ring any bells, Albert?" ALBERT: "Nope. I wasn't there. I didn't dream of it. Didn't happen. I have no knowledge of said event, except your statement." COOPER: "I believe this Areol is a clue. To transformation." ALBERT: "The half Giant half Midget? What's next? Some mythical beast with a thousand legs, hundreds of heads, all of them spinning in the darkness spinning in the light?" Cooper smiles. COOPER: "Albert, you're hilarious. It has to do with why Harry could not remember about things that had already happened to him, but their actual occurrence is out of space and time, spacetime." ALBERT: "Yikes, Cooper." COOPER: "Stay with me, Albert. I knew that you would be shot." ALBERT: "Lord, spare me!" Albert supplicates to heaven. COOPER: "The time was correct, the face was correct, but the person was wrong, the day was wrong." ALBERT: "I can feel it, you're roping me in again..." COOPER: "Parts and pieces, parallels and perpendiculars, future and past. Part of what we are experiencing in Twin Peaks is correct. But Albert, part of what we feel, touch, see, and dream in Twin Peaks is wrong." Caption on screen 'PPA15-secure-FBIP121314-COLE'. ALBERT: "Go ahead, Chief Cole." Screen switches to Gordon and INT. FBI HEADQUARTERS - GORDON'S OFFICE - PHILADELPHIA - NIGHT. Gordon seated at desk. GORDON (VO): "Well, Cooper, there's a big snag here. Our rendering artists came up with an aged composite of the description of the creamed corn magic boy, Bride Donna Hayward described through hypnosis. Don't trust it myself. There's a little bit more to the mind than the conscious and subconscious. That grandson of the imposter Mrs. Tremond, we aged him 25 years. Coop, it's me. It's me. Gordon Cole. The boy described by Donna Hayward could have been my twin at that age. I think the computers have got it all wrong. Conundrums. Like the 12-berry pie at the Double R, Coop, and I mean it this time and in this way: The pie is not 12 kinds of berries baked together, Coop. She's got them gridded off in 12 wedges, regridded in 12 tinier ever increasing rings, forming a star flower design you could stare at for hours. But Shelly McCauley runs the place as of two weeks. Meals on Wheels. That's when and where Donna and Shelly saw her 'Magician.' And Coop, here's the trick, from soon-to-be Mrs. Hurley's accounts, we're dealing with someone who possibly could look just like me, but me back then, back when Shelly's pies were all I dreamed about. And he could be using the missing VRUV7. Only seen on Pink Sweat for a brief stint. No camera footage other than that. The Magic Man didn't attend that peculiar celebration of a test for the test for the Fourth of July." COOPER: "Gordon! That reminds me, two days after the Wedding is a Canadian Holiday celebrated in Twin Peaks." GORDON (VO): "Good, Coop. This whole case is about parallels and perpendiculars. Two Gordons. Two Dales. Two holidays. Two Peaks. Twins, and all that. Got it! Good work, Coop. Cooper, Rosenfield, Evans, Truman, Stanley, Evans, Hardy, let me tell you this: Those 144 slices of slices of 12 kinds of berries, it's worth looking in to. Got it?" ALL: "Got it." Gordon thumbs up. All thumbs up. Smiles. GORDON (VO): "One more item. Hardy, although I can't give you a direct order, I would like to request you be assigned Agent Pro Tem Chester Desmond." ROGER: "Does this relate to the Jocelyn Packard case?" GORDON (VO): "Best eyes say yea." ROGER: "Agreed. Standard restraint protocol?" GORDON (VO): "Also agreed." GORDON: "So what do you boys and girls think of Cooper's Reenactment of his vision?" ROGER: "Chief Cole, I have my doubts about all of this." GORDON (VO): "Good. Rosenfield?" ALBERT: "None of this is real." GORDON (VO): "Never the best answer." LIL: "The best never answer." Roger looks at Sam's monitor. ROGER: "You're absolutely positive?" Sam looks up from monitors. Sam nods. SAM: "Perfectly positive." GORDON (VO): "Glad we got that solved, boys. Good, I'm going to try it out, right now, Coop." Cooper smiles thumbs up. Diane takes Cooper's 'thumbs up' and lowers it. MATCH SHOT: Gordon's image on screen smooths to:

INT. FBI HEADQUARTERS - GORDON'S OFFICE - PHILADELPHIA - NIGHT (CGI)

Gordon, seated at his desk, lifts a finger from laptop in front of him. GORDON: "Sometimes we think we know a criminal, but I feel like we link them back by their words and by their backwards. Golly! Coop!" Gordon slides his laptop away, in favor of an entire 12-berry pie. Gordon looks down at the pie. GORDON: "You know what this means! I'm not sure I do, but I think more than two things are happening at once, I put it at four or five, Sam will get you the numbers. Probably a lot bigger. Cole. It's Gordon Cole. Gordon Cole. End simulation." INT. OFFICE digitally reforms first into Gordon at desk with pie in front of greenscreen, then Gordon, desk, pie in INT. CABIN PEARL LAKES, then Gordon desk pie in INT. THE BUBBLE of Gordon's Office. In the Black Bubble, pressed to the walls of the office, Gordon sits alone at his desk, a fork in each hand, the 12-berry pie gleaming. Gordon stares at the pie. GORDON: "If you cut it, you'll mess it up. If you try it, you'll never go back. If you buy it, you'll always be satisfied. The Star Spangled Pie." Click.

FADE TO BLACK

In the blackness, Captioned dialogue, scrolling, in spectacularly refracting dark galactic mirrors: DENISE (VO): "TWIN PEAKS incident." COOPER (VO): "WINK TAPES searching." BOBBY (VO): "PINK SWEAT archive." SAM (VO): "HORNE OBSERVATORY accessed." GARLAND (VO): "AIR FORCE crosslink. The Queen of Rumania was beheaded in absentia!" VOICE (VO, Audreyfied, females all speak): "PROJECT SAPPHIRE enabled." GORDON (VO): "PROTOCOL 12-13-14." Clickety.

NIGHT MONTAGE - THE SURREAL EXTS. SHERIFF'S STATIONS - NIGHT (CGI)

12 versions and angles of Station at night:

SHERIFF'S STATION being built long ago.

Transition through light.

SHERIFF'S STATION seen and zoomed from Horne Hill.

Transition through fractals.

SHERIFF'S STATION from sky with Air Force digital information.

Transition through strange pixelation.

SHERIFF'S STATION in crudely animated representation with FBI logo.

Transition through electricity.

SHERIFF'S STATION blacking out.

Transition through overlay of full moon.

SHERIFF'S STATION viewed reflected (backwards) in gutter puddle.

Transition through peculiar swirlization of human blood cells.

SHERIFF'S STATION by drone POV perfectly circling the station.

Transition through ripples.

SHERIFF'S STATION land in ancient times, a campfire at Harry's office, 12 Native American Chiefs seated around fire.

Transition through smoke & fire and diagonal wipe between two worlds.

SHERIFF'S STATION burnt to the ground.

Transition through owl's odd triple inner eyelid wipe.

SHERIFF'S STATION as if each room were translucent.

Transition through waterfall mist.

SHERIFF'S STATION through POV UNKNOWN person approaching security doors.

Transition through galactic panorama including dark matter energy.

SHERIFF'S STATION seen from space with 'TwinPeakomagnetic' pole emanating from northeast Washington State.

Transition through mirror as tall and high as Twin Peaks.

BACKWARDS SHERIFF'S STATION as if built from black and white chevrons.

Click.

INT. SHERIFF'S STATION - CONFERENCE ROOM - LATER - NIGHT

Garland sweating. Cooper and Albert restrain the Major's shoulders, as he fidgets in his chair. COOPER: "Major, who is the King of Rumania?" GARLAND: "The Queen of Rumania followed the King!" COOPER: "I hope you can hear me from there, Garland, who are they? Is the King of Rumania, Dracula? Lord Drac from Pink Sweat? Carl Rodd? Major, if Carl Rodd is the King of Rumania, who is his Queen? Is it Annie, seen beheaded in dreams?" GARLAND: "Beyond time and space, beyond normal and dark matter energy, lies the truth of the All." COOPER: "He's returning to us now... That's it Garland, you're fine, you're home. Right here with Betty your wife, and Bobby, your son, and Shelly, once daughter-in-law, daughter-in-law again, but daughter forever." (None are there.) COOPER: "Returning now." GARLAND: "The drugs were necessary, you see! Not to imbibe would offend the King and Queen... Sorry, Agent Cooper, I will be myself in just a moment." ALBERT: "This takes the cake! We are now knowingly complicit in this man's 'strange hallucinogenic narcs." COOPER: "Never before seen hallucinogenic narcotics. Yes, Albert." ALBERT: "This isn't the Bureau, it's a sh*t soaked mad house!" COOPER: "Albert, calm yourself. Both the Bureau and the Air Force are seeing tangible results into understanding these phenomena." DENISE: "You're all so cute. Technical, I like it." Denise looks up from a drug ampule test kit. DENISE: "Anyway, the Major here is under what we like to call designer injectable cocktails, tailor made to the individual in this case. His nonsensical and darting eyes denote haloperidol, but I can't nail it down, either he took sodium pentothal to counteract, get this, a microdose of active methadone, or that he was clearly amped up on some strange things. His body is producing a massive amount of acetylcholine, or he shot himself up with that too." Denise holds up a can of energy drink. DENISE: "And a particular energy drink, this one boasts, (reads) 'Increase brain electrical activity through _Electrolyte-Up!'_ Rubbish. It's caffeine, folks." Denise takes a swig of energy drink. She looks at the oddly quiet three. DENISE: "Sample, not evidence, gentlemen. But folks, this juice he's got running through him is micro-perfected. I'd say he's trying to relive a very specific memory." GARLAND: "The Grand Palazzo!" COOPER: "I hope you can hear me from there, Major. This is not the way. Listen to the sound of my voice, Garland. Come into the light, Major." Click. SLASH TO:

EXT. PLUM TREE ORCHARD IN BLOOM & GHOSTWOOD FOREST - DAY (CGI)

Ghostly fluffy white plum blossoms blot even their leaves further blotting rows and grids of plum trees encased in douglas firs. Garland in his Air Force Major General's uniform, Cooper in his immaculate suit. Cooper looks around. Garland breathes in deep. GARLAND: "Thank you, Agent Cooper. Lovely bucolic fragrance, buoyant on the day, and delightfully reminiscent of plum blossoms, I believe." COOPER: "The blossoms are not what they seem, Major." GARLAND: "Understood. I have little time to relay this. Whilst using a minor cocktail to reproduce the Windom Earle incident (haloperidol, cocaine, acetylcholine, methadone, sodium pentothal), I was preparing to inject the Monkey. But the Monkey injected me with his own cocktail. Then the monkey said-"

SLASH BACK TO CONFERENCE ROOM (CGI)

GARLAND: "Then the monkey said, 'Twelve times twelve is one hundred forty-four!'" ALBERT: "This is precious." Harry enters, perspired. Harry pulls Cooper aside. HARRY: "Cooper, the Major was just fine, until, um, listen, Catherine told me she is haunted, (whispers) 'possessed', she left, then as soon as I mentioned Catherine, the Major here goes nuts." Harry takes a breath. HARRY: "Cooper, is this your never before seen drugs?" Cooper smiles. COOPER: "Yes, Harry, it is!" Denise walks up. DENISE: "Coop, it looks like you and the Major have a special bond. That's endearing. You're so you, Agent Cooper. I know what that's like. But here's the problem, mission be damned, Major be dammed, I can't let this one slide. This is the ugly side of professional friendships I like to avoid. So, barring something from Justice, I'm going to have to-" Cooper holds up his salute. COOPER: "Agent Pulaski, I speak to you now not only as a Bureau Man, but also I now speak directly to the Harvest Lady." SUPERCOOPER: "You will not Harvest this one." Click.

INT. EON

Screen in Eon: 'Locating Nexus.' 'Begin progression.' 'Darkness walked with none, Fire walk with me, Ashes walked with us, Big Bang walked with one, Light walk with me, God walked, walks, will walk with all' 'Locating Nexus.' 'Begin progression.' 'Locating Nexus.' 'Begin progression.' 'Locating Nexus.' 'Begin progression.' 'Locating Nexus.'

EXT. CALHOUN MEMORIAL HOSPITAL - LATER - NIGHT

Ben's 2016 Rolls Royce Phantom is parked outside main entrance.

INT. PHANTOM - NIGHT

Ben sits in the back seat of his Rolls, his black gloved hand holding cell phone to ear. The privacy screen is raised, not showing driver. BEN: "Yes, Daniel, since you are familiar with many of the aspects of our problems, we would be thrilled if you joined our legal team. ... That's right, Commonwealth Day." Ben taps privacy window, Rolls pulls out. BEN: "I'm afraid any return to Pink Sweat first would have to go through Bobby, and second, and I mean this, all content would have to go through a heavy edit bureau, none of this strange Laura business."

S3:E17: ACT NINE P.M. [INTERCUT PALMER AND HURLEY HOUSES]

EXT. PALMER HOUSE - NIGHT

Caption: '9pm Friday, March 11, 2016'. Many cars parked in driveway and street. The rails of the wooden ramp are bedecked in white hanging lilies of the valley, tied with thin white ribbons. In Sarah's tulip bed, all the blooming tulips have closed for the night, save one. A red blossom. Staring up from the flower, we see Sarah staring out frill white curtains at the tulip, other guests in background.

EXT. BIG ED HURLEY'S HOUSE - CONCURRENT - NIGHT

Caption: '9pm Friday, March 11, 2016'. Many cars parked in driveway and Riverside Boulevard. A concrete foundation has been installed at the base of the mail box reading '422 Riverside' 'The Hurleys'. In Big Ed's windows, all the beige drapes have been closed for the night, save one. A red curtain in the kitchen, open. Staring through the window, we see Ed staring out at into the darkness toward the solid posted white mailbox, other guests in background.

INT. PALMER HOUSE - LIVING & DINING ROOMS - NIGHT

Guests mill about the rooms, lavished with hors d'oeuvres, champagne bottles, unopened gifts. Donna, seated with Hayward family photo album, opened, lifts it to show pictures of herself age 7 with Eileen and Will Hayward circa 1981. Gersten and Harriet sit to Donna's sides and look over Donna and album lovingly. Standing around the seated Hayward sisters are Audrey, Martha, and Margaret 'Honey' Honeycutt. Eileen seated in wheelchair in front of Donna. Near Dining Room, Sarah touches the frill curtains then sits with Beth. In the Dining Room Aurora, Lela, Sylvia, Heba, and Cat bring delectable treats from Kitchen to and fro the dining table buffet. SYLVIA: "That's right, Cat, Sarah and I go way back. Remember the Harvest Dance, Sarah? Both Sarah and Beth turn and nod. SARAH: "The six of us drunk, floating in Black Lake? Who can forget?" Sarah chuckles. SARAH: "If I had a nickle for every bottle of Jack we consumed that night, I'd have fifteen cents. How's that for memory? Every Bookhouse Boy trying to find us!?" Sylvia laughs, Sarah chuckles, Beth holds Sarah's hand. Eileen smiles to Sarah, loses smile toward Sylvia and Cat.

INT. HURLEY HOUSE - LIVING ROOM - NIGHT

James, wearing Bookhouse Boys Jacket, stands before the fireplace mantle, looking at a picture of Ed and Norma in wedding attire circa 1992. James stands with his estranged father, Jack Hurley. JACK: "Listen, James, I understand you're reluctant to talk to your Mother and I." JAMES: "Nothing to talk about, John. You left us. Mom turned into a lush. She left. Now you're both back. The only reason either of you were invited is Donna. End of story." Andy enters from bathroom with babies Nathaniel and Orpheus, one in each arm, both babes awake and staring around. Andy walks to James and Jack. ANDY: "Hello James, hello John." JACK: "Hey Andy." JAMES: "Looks like you got a handful." ANDY: "Oh, James, I like taking care of the babies." Andy cuddles the babies close. ANDY: "Besides, Lucy says it keeps me away from (whispers) Waldo." Andy moves toward Carl Morton. JACK: "Well, son, thank you anyway for inviting us to the wedding. It means a lot to your Mother." JAMES: "That's the difference between me and you, John. I stick with Donna through thick and thin." James leaves Jack, staring at the picture of his brother Ed and sister-in-law Norma.

INT. PALMER HOUSE - STAIRS - NIGHT

Norma, smiling down. Near the bottom of the stairs, in a quiet area, Midge Jones rocks in a rocking chair with Little J asleep on her shoulder, the long three paneled mirror above them. LUCY (whispered to Dee): "Told you she could do it." Dee turns to Norma. DEE (whispered): "Wow, Mom, wow!" NORMA (whispered): "You can say that again. You never went down that easy. You were like your cousin James. Rambunctious. Excitable." MIDGE JONES (whispered): "Amen to that." Midge looks down to Little J. MIDGE JONES: "(whispered) And amen to this little one. James never went down. He got the wind in him." Lucy, Dee and Norma look over the rocking Midge. Midge looks up to Cat, far across in the Dining Room. Cat sneers. Norma notices. NORMA (whispers, nodding to Cat): "Don't you fret, Grandma Jones, we both took care of James more than she ever did." Abby joins them, her hair up in curls of blond and lavender, buds of lilacs over both ears in a wreath. She hands Lucy one of two champagne flutes. LUCY (whispered): "Thanks, Precious." Lucy looks down. ABBY (whispered): "Don't worry about Daddy and Waldo, Mom."

INT. HURLEY HOUSE - MUD ROOM - NIGHT

Ed talks quietly on cell, wearing Bookhouse Boys jacket. ED: "Well, I suppose you're right about that, son. If James won't talk, ain't hell or high water anyone's going to make him talk, 'cept Donna, I suppose." Ed peers out window.

INT. PALMER HOUSE - KITCHEN - NIGHT

In the Kitchen, Margaret pours herself a cup of coffee. The Harvest Lady enters. LOG LADY: "You are about as obvious as a clear plastic sack of rocks." HARVEST LADY: "Margaret! Fun stuff, yes. Love the metaphors." Denise adjusts the corn stalks in her arm, bedecked with purple plum violas. HARVEST LADY: "I'd lose the indignation, though. After all, imitation is the sincerest form of flattery. That's why I chose you. Best of the Best." LOG LADY: "Hmph!" Log Lady stops, regards the stalks and blossoms. LOG LADY: "Those violas aren't even local." Log Lady moves to exit. Jacoby, who we now see observing the two, halts Margaret with open palms. LOG LADY: "Hmph!" JACOBY: "Now, Ladies, now is not the time to relent our likenesses, but celebrate our differences, our compliments, our contrapositives, if you will. Come, have a seat together and talk. Really talk." LOG LADY: "And you're as dumb as a sack of rocks." Log Lady issues past the two. LOG LADY: "I have business." Once the Log Lady is out of range, Jacoby peaks around corner to Dining Room and to far Living Room. JACOBY: "Women. No one, I dare say, understands the exchange between two women except those two minds." Harvest Lady joins Jacoby to peer over guests. HARVEST LADY: "Women aren't mysterious, Doctor Jacoby. Nor misunderstood. They're human. It's simple. I copied her. She thinks it's a mockery. I think it's an homage. It's probably somewhere in between." Jacoby observes Eolani, in an alcove corner of the Living Room partitioned as a morning sun room. Denise, the Harvest Lady observes Margaret, the Log Lady. HARVEST LADY: "Still, though, her skirts are to die for. But wool rubs me the wrong way."

INT. HURLEY HOUSE - LIVING ROOM - NIGHT

Andy joins Carl. ANDY: "They're both changed, Carl." CARL MORTON: "Thanks Uncle Andy." Carl takes Orpheus in his arms. CARL MORTON: "Say, Uncle Andy, what's up with the soldier and the goggles?" Carl and Andy turn to Major Briggs. The Major sits quietly in a corner of the room, his strange Air Force goggles strapped to his pate. ANDY: "Air Force mission." WALDO (OS): "Better ask Betty." Andy and Carl turn to see Timothy Pinkle feed Waldo a strawberry. CARL: "And why did you bring Waldo?" ANDY: "Agent Cooper's mission." We see Harry approach the Major and comfort his shoulder. Mike walks by Pinkle, who offers a strawberry to Mike. MIKE: "No thanks, pal." Pinkle talks to Waldo. PINKLE: "Pinkle. Pinkle. Pinkle. Judy. Judy. Judy." Mike checks his cell phone, looks toward kitchen.

INT. PALMER HOUSE - LIVING ROOM ALCOVE - NIGHT

Behind the partition in the Living Room, a small table. Seated Ronette, Lana, Eolani. Judy. Jacoby tickles his fingers 'hello' to Eolani from the kitchen doorway to dining room. The three lean in to Judy as she quietly gesticulates through: JUDY: "Okay, let's play a game. Make Donna play it too. Okay, my turn! Who am I? (deep) 'Harry, we know three facts. One, once there were three little pigs. Two, the last little piggy, went 'wee wee wee' all the way home. Three, this last little piggy is from a different story. Harry, I put it to you we can deduce several facts from this. FACT: The last little piggy could not have uttered a constant stream of 'wee wee wees' all the way home if he was hoofing it, so to say, he had to be driving or being driven, and therefore he was the hog driving the 2013 piggy powder pink Lamborghini Veneno, and therefore is not the dead swine you see before you. Once, Harry, once. Upon a time. No more. FACT: All three pigs but not the last piggy are in fact dead. FACT and CONCLUSION: The last little piggy made it home, ran over and murdered these three sows, yes Harry, all three were women, _and_ these three imposter she-porkers will make the luau both strange and wonderful. Case closed. Let's eat.'" Ladies giggle. JUDY (deep): "What bothers me, Harry, is there were five little piggies on each foot, plus the three little pigs, that makes thirteen, and that's never good..." Eolani waves back to Jacoby. Eolani looks over to Sarah's smiling but careworn face. Ronette stops smiling. She points her arm back behind her, pointing to Beth, who quietly sits with Sarah. BEGIN SIMULTANEOUS OVERLAP. RONETTE: "Electricity." Ronette snaps her finger.

INT. HURLEY HOUSE - LIVING ROOM - NIGHT

Garland, goggles on, snaps his finger. END SIMULTANEOUS OVERLAP.

INT. PALMER HOUSE - LIVING ROOM - NIGHT

With Beth and Sarah. BETH (whispered): "Elaurzarabeth." SARAH (whispered): "Electricity." BETH: "Elaurzicity." SARAH: "Electricity." BETH: "It's Laura's City." Log Lady walks up on them abruptly. LOG LADY: "Beth, you just tell them to hush, and they'll hush." BETH: "I never know when they're coming or going." SARAH: "If we knew that, we'd buy twelve bird cages." Beth smiles. Log Lady unceremoniously hands Beth her Log to cradle. Several surprised looks. Beth relaxes and sighs. Sarah smiles. THE BETH LADY (to Log): "Now, you hush, too. I feel, I feel. I know, I know. I bend, I bend." MARGARET LANTERMAN: "Soon, Beth, soon." Margaret leans in to Beth. MARGARET LANTERMAN: "But you must be strong."

INT. HURLEY HOUSE - KITCHEN - NIGHT

Next to the kitchen window, Ed swigs a beer. Cappy and Joey swig beers. All three have Bookhouse Boys jackets. ED: "Well, it's good you stopped by, Chief." JOEY: "Ed, I'm here as a Bookhouse Boy, nothing more." CAPPY: "You should've been his best man, Joey. Tradition. Scotty ain't his partner." Joey looks down. JOEY: "Well I f*cked that up, didn't I. I slept with his ex-wife. Sorry, Ed." ED: "I know, son." Nicky, snickering, comes around corner, staggering. NICKY: "Where's your smiles, gents!?" Nicky wobbles toward fridge. ED: "Need some help there, son?" NICKY: "Ed, I do. I do. I do I do I do. So ... I'm only grabbing one six pack." Nicky grins. Ed smiles. ED: "Looks like you got it handled. You ain't driving tonight, are you son?" Nicky salutes. NICKY: "No, sir! Nance is picking me up..." Nicky belches. NICKY: "...right after she drops Maman off." Nicky stumbles with six pack of beer toward Living Room. He runs into Ben and Jerry, who both smile awkwardly. JERRY: "Nicholas, let me help you with that." Jerry issues Nicky out. Ben lifts his cigar. BEN: "Ed, to my fellow future brother-in-law, bravo on the festivities tonight, sir, bravo!" ED: "Glad you're letting your hair down, Ben." BEN: "And more. Listen, Ed, brother, about those contracts..." ED: "No talk about business tonight." BEN: "Again, Bravo." Ben exits. Scotty enters from outside through kitchen mud room, wearing Bookhouse Boys jacket. SCOTTY: "What's going on?" ED: "Nothing, son. All clear?" SCOTTY: "Yup." JOEY: "My turn on patrol." Joey gives Bookhouse Boys sign. Ed, Cappy, Scotty give sign. Joey exits through mud room. James enters kitchen, smiles, gives Bookhouse Boys sign.

INT. PALMER HOUSE - LIVING ROOM - NIGHT

Looking up from her album, Donna observes Doctor Jacoby cross room to giggling ladies in corner alcove, Jacoby watching Beth. Donna looks down to album. DONNA: "And then, when Gersten was a baby..." Gersten and Harriet exchange a glance. Ladies wait, deciphering why Donna points to the wrong picture. Donna stares at Beth. HARRIET: "That's when Donna and I started to get in trouble, right sis?" DONNA: "Oh ... sorry. Yeah, Harriet. Madame Mayor. What your constituents don't know can't hurt them. Unless it gets nailed to the wall." Donna smiles impishly. HARRIET: "My sweet sister, even before her wedding, is still trying to protect her little sister. Folks, I am going to tell it to you, and I am going to tell it to you straight. When we were kids, I was mad at the new baby, I think. I nailed one of Gersten's baby bottles to the wall of the garage, to use to pitch pennies. And Donna, to this day, took the blame." Eileen surprised, smiling. EILEEN: "Really!?" Donna nods, giggling. HARRIET: "Partially to spare me, of course, but in a strange gentle way, to get Mom and Dad to not forget us. Kids, huh? Gersten, are you still mad?" Gersten stares forward, then bursts out laughing. GERSTEN: "Yes, that was the last baby bottle I had needed for my conquest of the universe. Now look at me, a veterinarian." Gersten smiles. DONNA: "And concert pianist. If you wanted to be." Gersten squeezes Donna's hand. GERSTEN: "I chose Twin Peaks." DONNA: "Me too." HARRIET: "Me three." BETH (belting, singing): "All around the mulberry bush, the monkey chased the weasel, the monkey thought 'twas all in fun, pop! goes the weasel." Sarah alarmed. Jacoby intercepting. BETH (belting, singing): "A penny for a spool of thread, a penny for a needle, that's the way the monkey goes, pop! goes the weasel." Donna silently stands, closes album, hands it to Harriet, crosses to Jacoby and Beth. Doorbell sounds. Door opens.

INT. HURLEY HOUSE - LIVING ROOM - NIGHT (CGI)

Sam wears strange FBI VR goggles. SAM'S POV: An image of Diane/Lil appears in the room. SAM: "Hello, Ssamm." Caption above Lil/Diane 'SSAMM'. SSAMM (DIANE/LIL): "I am SuperStoring Atomic Molecular Memory computer interface. I am Ssamm." SAM: "Nice to meet you, Ssamm. My name is Sam. Tell me, Ssamm, what do you see?" SSAMM: "Scanning. Interpolating." Doorbell sounds. Door opens.

INT. PALMER HOUSE - FRONT ENTRANCE - NIGHT

Through the open door appear Cooper, in FBI suit. Standing with Shelly, folded arms. COOPER: "Sarah, Margaret, Audrey, Donna, please accompany us upstairs." Audrey steps in front of Shelly, to greet Cooper. COOPER: "The twelfth solution!" Cooper beams. Cooper proceeds unceremoniously past Audrey towards staircase.

INT. HURLEY HOUSE - FRONT ENTRANCE - NIGHT (CGI)

Carl Rodd stands at the entrance. CARL RODD: "I was on my way home. This kind gentleman flagged me down, asked if I could drive him here." To Carl's left, the Magician, the imposter Tremond's grandson, Tréfond Chalmont, the Changing Man. As Trey moves his head, his head morphs between 1991 Gordon's twin, Trey, and a 1980 Man From Another Place. No one seems to see this. Magician claps his hands. MAGICIAN: "Let's rock!" Magician turns up stereo and begins dancing. Pinkle pops a beer and hands it to Magician. Magician swigs the beer. MAGICIAN: "LET'S ROCK!" Magician dances. Waiter war-whoops. Garland stares wide eyed.

INT. PALMER HOUSE - KITCHEN - NIGHT

The Harvest Lady looks over empty hors d'oeuvres trays. HARVEST LADY: "I suppose the ladylike thing to do, would be to rinse these off." Log Lady issues from around corner abruptly. LOG LADY: "Ah ha! You care. ... I'm waiting." Harvest Lady sets down her bundle of stalks and blossoms. DENISE: "I'm not ruining my nails." Log Lady frowns. LOG LADY: "I didn't think so. Do you even know what's happening?" Denise turns to sink, rinses trays. DENISE: "No, but the more I try, the more I try." LOG LADY (OS): "Good, then we can begin." Denise turns. The Log Lady is not there.

INT. HURLEY HOUSE - KITCHEN - NIGHT

In kitchen, Mike crosses in front of Ed, holding his ear against the loud music. Mike holds up his cell phone. MIKE: "I got to take this, Ed." ED: "Sure thing, porch out back, son." Mike nods, stows phone, stops at outside kitchen door. MIKE: "She's doing better, you know. Agent Cooper says..." Mike chokes and hangs his head. ED: "You and I have had our differences, son. But you know, I've watched her for 50 years. She loves you in a way, well, we never had. I know Nadine is coming back to us. And I know you are the biggest part of that." Mike stares up, his face awash in sadness. Mike half smiles and exits.

EXT. PALMER HOUSE LOOKING INTO LAURA'S WINDOW - NIGHT

We see through window, through room, to Cooper below the ceiling fan, staring into room.

EXT. HURLEY HOUSE - BACK PORCH - NIGHT

Bobby in bushes. BOBBY (whispers): "Just pretend you are talking on your cell phone, Snake." Mike nods, holds up his cell phone. MIKE: "Hello? Oh, hey Rick."

INT. PALMER HOUSE - LAURA'S ROOM & UPPER LANDING TO STAIRCASE - NIGHT

Just peaking around corner from Laura's open door, we see down the stairs, to Midge and Little J sleeping at foot of stairs. The ceiling fan with Nadine's strange 'fan socks' made of white and pale pink lace, silently rotates on its lowest setting. Donna peaks around corner, holding the wall at the bottom of the stairs. Cooper at top of stairs staring silently into Laura's room. Donna slightly startles as Sarah puts her hand on Donna's shoulder. Sarah puts a finger to her lips. Ladies speak in whispers. SARAH: "Shh." Sarah nods to Little J. Donna slowly begins to ascend, Sarah comforting Donna. Cooper observes Donna ascend. Audrey beside herself beaming and lost in Cooper. As Donna reaches half way, she gasps slightly, seeing where the control box _was_. Donna grasps her left arm, and her eyes grow glassy as she turns to Sarah. SARAH: "No more crying about the diary, sweetheart. Today's a happy day." Donna glows in a smile. Cooper observes Donna. The party continues up. As they reach the top, Cooper turns back to Laura's room. Donna releases a gasp of joy and tears. Ceiling fan stops. Log Lady swiftly comes into view at bottom of stairs. LOG LADY: "Hush you!" Little J stirs. Ceiling fan continues. Sarah smiles. MIDGE JONES: "You tell 'em, Maggie!" Log Lady straightens her sweater and ascends stairs. Shelly stops at foot of stairs. Log Lady extends her hand to encourage Shelly forward up the stairs.

EXT. HURLEY HOUSE - BACK PORCH - NIGHT

Mike nervously looks around. BOBBY (whispered): "Listen, Snake. Okay, I'm just going to say it. Quit. Two hundred grand. F*cking kitten! That cat. Nadine killed Jeff's cat. That made last night fun. But that's it, Snake. It was necessary, to get Nadine help. Here's the angle. Nadine came out of her last coma. Nadine wakes up, no charges are filed, and this time she's tested by the right people, she's free, amen, she's healthy to return home. She may have to be medicated, but you win, bro. Come to work for me full time. Two large G's. But you got to promise to help me with my little problem with Donna and James and Jacoby." MIKE: "How the f*ck do they all know?" BOBBY: "Laura." MIKE: "Nobody is going to believe a ghost." BOBBY: "No, the real Laura, 25 years ago. She told Donna, I'm sure, then Madonna told James, they both told Jacoby recently. We wouldn't have this problem if you would've held on to Donna in high school." MIKE: "F*ck you, Bopper." BOBBY: "Okay, that was out of line, sorry Snake." MIKE: "Why the f*ck would they not say anything for 25 years, and choose now of all times?" BOBBY: "Laura." MIKE: "Laura's f*ckin dead. Sure you didn't kill her too?" BOBBY: "Okay, I deserve that. But you're an *sshole." MIKE: "Takes one to mistake one. ... Okay, I'll do it. For Nadine, Bobby. For Nadine." They pound fists. BOBBY: "For Nadine. Now get back in there and see if James has a message for me." MIKE: "By the way, your Dad looks f*cked up." Bobby shrugs. MIKE: "F*cked up as on something, pupil dilation, on something." Mike exits. Bobby bewildered.

INT. PALMER HOUSE - LAURA'S ROOM - NIGHT (CGI)

As Cooper enters room, and Donna tentatively enters with Sarah, Shelly and Audrey peer into the room. The ladies watch as Cooper moves his gloved hands toward the picture frame of a peeling rose wall papered room with a door. Log Lady under ceiling fan, staring up. Cooper smiles, looks over his shoulder. COOPER: "This is The Picture Frame?" Audrey and Shelly nod. Audrey whispers in Shelly's ear. AUDREY: "From the ex Mrs. Briggs, to the next Mrs. Briggs, you're the only one who can make Bobby..." Cooper grabs the picture frame. SUPERCOOPER: "Aces!" As SuperCooper turns, FREEZE FRAME all but Cooper. In fact, another Cooper touching the frame, a moment before turn. SuperCooper regards other Cooper. SUPERCOOPER: "Like Donna's description of her vision of her Mother rising from the wheelchair, the night Sarah Palmer feinted, like my vision travel with Nadine Nelson this very day!" SARAH: "I'm right here." SuperCooper turns to Sarah. Although everything else FROZEN, Sarah removes a pack of smokes. SARAH: "Margaret, you can stop pretending." Log Lady exhales, situates her Log. LOG LADY: "Soon I will be with Donna Hurley." SARAH: "Soon I will be with Leland." SUPERCOOPER: "Ladies, I must caution you, this picture of a door in a room is both a compass and a gateway." SuperCooper turns his ring and the normal syncopated ripples from SuperCooper shatter into clear but outlined slightly mirrored fractal ripples from SuperCooper. SuperCooper looks up. A bright white unnatural light scintillates on the ceiling, with diamondlike emanations. SUPERCOOPER: "Who are you!? Who are you really!?" The light scintillates. We now travel into that light.

INT. BLACK LODGE (CGI)

Laura seated in easy chair, staring up, mesmerized. A bright white unnatural light scintillates far above Laura, a sphere of brilliance with diamondlike emanations. SUPERLAURA: "Elizabeth, Zarabeth, Lilibeth, Marabeth. Beth." The light scintillates. We now travel into that light.

INT. WHITE LODGE (CGI)

Laura seated in one of four vine encrusted white marble thrones. The Giant sits across from her, smiling. Laura stares forward. SuperLaura lifts her hands into the 'meanwhile' pose. Centered in her hands, a miniature version of the brilliance sphere appears. GIANT: "Yes, Laura." The light scintillates. SUPERLAURA: "One and the same." We now travel into that light.

INT. HURLEY HOUSE - LIVING ROOM - NEAR DOOR TO JAMES' OLD ROOM - NIGHT

James stares into his old room, still decorated with pictures of he and Laura, circa 1991. Mike in background, moving casually toward James, who looks lost, staring, holding his left arm, a bottle of beer in left hand. MIKE: "Everything okay there, James?" James snaps out of stare. JAMES: "What?" MIKE: "You drunk?" JAMES: "No, I promised Donna." James closes door to his old room. MIKE: "Okay. Well, I just wanted to congratulate the two of you." James adjusts the left sleeve of his Bookhouse Boys jacket. JAMES: "Thanks, man." MIKE: "Listen, I know you're uncomfortable talking to one of Donna's exes." JAMES: "It's not that. I just kind of feel stressed. Weird." MIKE: "Jitters?" James nods. MIKE: "Me too. I'm changing jobs. Well, anyway, I just wanted to tell you that I'm going to work full time for Horne Industries. I need the money. I want Nadine to have the best medical care." JAMES: "Full time for Bobby?" MIKE: "Yeah, I guess. I know you must hate him for proposing to Shelly." JAMES: "No, I'm glad Shelly's happy." MIKE: "Bobby's not at all himself. I don't know what's going on with him." JAMES: "She's full of secrets." MIKE: "Shelly?" JAMES: "No, Laura."

INT. PALMER HOUSE - LAURA'S ROOM - NIGHT

END FREEZE FRAME. LAURA (VO): "I'm coming back, Donna. And so is Bob." Donna looks lost, holding her arm. Audrey stares. AUDREY: "Bobby..." Shelly looks ill, holding her stomach. Sarah goes to Shelly. SARAH: "Let's get you to the bathroom. Down the hall, sweetie." Log Lady, Sarah, and Shelly exit. Cooper holds the picture frame, staring into it. He looks up, hearing Shelly wretch down the hall. Audrey and Donna stare at Cooper. COOPER: "If you will excuse me, Ladies, this is FBI evidence." Cooper exits past the two sisters, both put off by his hasty exit. Shelly puking in background. Donna turns to Audrey. DONNA: "So why did you buy it? Tremond's apartment?" Audrey turns away, examining her gold nails. AUDREY: "You know why I bought it." Donna turns Audrey. DONNA: "Audrey, I need to know! That Old Mrs. Tremond is back. Sometimes I feel like you care, but other times I think you're always hiding something in the back of your mind. I promised James. No more games between you and me." Audrey sits on Laura's bed. AUDREY: "Okay, here's the reasons, in order of importance: First, to protect and serve the people of Twin Peaks for the highest possible good. Second, for Cooper, duh. And third, to stop the Black Lodge. Easy." DONNA: "Yes, 'Agent Cooper'. Now, Audrey Horne, tell me the real reason." Audrey smiles. Dons her gloves. AUDREY: "Listen, Donna. Cooper solves his crime, I'm exonerated, we live happily ever after. Easy as pie."

INT. HURLEY HOUSE - GARAGE - NIGHT

The garage door open, Ben and Jerry stand on wooden stairs above the garage. In the superbly outfitted garage, Lawrence Jones Martell deals cards. Seated around table, Timothy Pinkle, Harry, and the Waiter, who isn't playing, just smiling and observing. We see the Waiter/Jerard's ankle without the TPA ankle bracelet. Next to Waiter, Johnny Horne, also without ankle bracelet.

With Jerry and Ben, who regard Johnny and Jerard. JERRY: "Ben, how is it we are in ankle bracelets, Audrey is in one, but the Patriarch of the Renaults is not? Ben, what's happening?" BEN: "Simple, Jer, Mr. Renault has been released, thus no Jacoby. As for our superfluous federal jewelry, we shall be exonerated, my friend, exonerated I tell you." JERRY: "Benjamin, my tummy hurts. And what is up with your brother-in-law?" BEN: "Which one?" JERRY: "Not Ed. Ben, the spectacle in Martian spectacles."

INT. PALMER HOUSE - LIVING ROOM - NIGHT

Jacoby squats in front of Beth, talking quietly. As Cooper descends stairs, the picture in a large FBI bag labeled 'evidence', a knock at door. Betty answers door as a huge cake is wheeled in by two of Catherine's thugs, an African American couple in their late forties, reintroducing Randy Saint Croix and Jenny Blackman in tuxes. RANDY (whispered): "Just push it as far as you can." JENNY (whispered): "I should never have married you." Jenny waves to Midge Jones. JENNY: "Hi, Grandma Jones." Midge shushes her lips. Cake plays music 'All around the mulberry bush' from inside. Cooper inquisitive. Harvest Lady claps and laughs. Donna and Audrey descend stairs. Ladies gather. Inside the cake, a Voice. VOICE (singing): "All around the mulberry bush, the monkey chased the weasel, the monkey thought twas all in fun, pop! (cake pops open) goes the weasel." Ladies react. Donna moves past Cooper, Audrey joins him. VOICE (singing): "A penny for a spool of thread, a penny for a needle, that's the way the monkey goes, pop! (puff of smoke from inside cake) goes the weasel." Ladies stare into empty cake with cell phone wired to cake opening mechanism and pyrotechnics.

INT. HURLEY HOUSE - FRONT ENTRANCE - NIGHT

The door opens to reveal Josie Lin in black fur and diamonds.

INT. PALMER HOUSE - FRONT ENTRANCE - NIGHT

Audrey looks flabbergasted as she sees a man dressed in a designer black and red tuxedo enter the open door. AUDREY: "Aubrey!" Aubrey Horne, a stunning young man in his early 20's, with Bobby's chiseled look and Audrey's sheer beauty, presses his cell phone and stows it. AUBREY: "Isn't it more interesting, ladies, Mom, Aunt Donna, if the guy _doesn't_ pop out of the cake?" JUDY: "Oh my God! Can I get an autograph!? Well, several. All the ladies, well, I mean, I'll take any extras you ladies don't want. Just kidding. I know why he's here ladies!" Judy waits. JUDY: "Wrong! He's not here for the wedding, or his Mom's cooperation with Agent Cooper! Or for that matter, his grandad Benjamin Horne's cooperation with that charming wolf FBI man, who's going to blow all your houses down! Wrong! Not even for the money that was paid to pull off the cake stunt, and brava! ladies for whoever did pay for this!" Aubrey smiling wryly. Audrey agape. JUDY: "Wrong! Aubrey Horne is here for Daddy. Ex-Sheriff Bobby Briggs, ex-boyfriend of Laura Palmer. Ex-husband of Audrey Horne, Donna's sister. Bobby Briggs. Robert Horne. Horne Industries." AUBREY: "Of course, I'll grant autographs, but let me say this, ladies, with all due respect, this..." Aubrey takes an astonished Judy swung low in his arms. AUBREY: "This is the craziest bitch you'll ever meet." Judy giggles. Hushed laughter among indignation. BETTY: "Your Grandfather would slap you." AUBREY: "Sorry, Gramma Beth." Aubrey looks down to Judy in his arms, smiling. AUBREY: "But you know, Miss Swain, I should never have gone to you to be emancipated at age 16." Judy nods and covers her face in a giggle. Aubrey stands her up. As Donna and Audrey greet him, Aubrey gives his mother a peck on the cheek, and at the door, in electric wheelchair and ankle bracelet, Maman Renault. MAMAN RENAULT: "Out of my way, _actor_ , I'm here to see Sarah." Log Lady gently retrieves her Log from Beth.

EXT. HURLEY HOUSE - BACK PORCH - NIGHT

Harry holds Josie's hands as she smiles. They drop hands. JOSIE: "I know you won't believe me, but maybe that charming FBI man might. The Josie you knew was not me, but all me, but I am me, and I know her, all of her, because after me was Josie, but I am Josie, not her. She was made. She was grown. I was born." HARRY: "We got to get you to Agent Cooper."

EXT. PALMER HOUSE - BACK PORCH & BACK YARD - NIGHT

Maman Renault, Sarah, Eileen, Beth, Norma, Dee, Little J, Donna, Audrey, Aubrey, Lana, Heba, Sylvia, Midge Jones, Gersten, Harriet, Aurora, Lela. PLACIDE: "Sarah, you know I'm dead soon, you've seen it too. I want it known before I go: It's time to abandon the Legacy Court in favor of the Reckoning." Dee, Donna, Aubrey, and Heba have questioning looks. HEBA: "What is 'reckoning?'" PLACIDE: "The way the seven families settle things once and for all."

EXT. HURLEY HOUSE - BACK PORCH - NIGHT

Astonished, the guests stare out back windows at Josie and Harry. Raven enters back yard. RAVEN: "Jocelyn Lin? Agent Diane Shapiro Hill, Central Intelligence Agency." Hidden, Bobby watches. Farther hidden, Joey watches Bobby. RAVEN: "Come with me immediately." Through window, we see Andy feint.

INT. HURLEY HOUSE - KITCHEN - NIGHT

Andy is collapsed in Ed's arms, who issues him to a seat. DOC HAYWARD: "Give him some air." Doc Hayward takes Andy's pulse. DOC HAYWARD: "He's feinted. He's okay. What the hell is that woman doing here anyway!" ED: "You sure, Doc? It's been an awfully weird day." Doc nods. DOC HAYWARD: "Hold him while I get my bag." ANDY: "Doc Hayward?" DOC HAYWARD: "Andy, take it easy. Just sit there. I'll be right back." Doc Hayward turns to exit. ANDY: "No, Doc, I'm fine. I didn't feint, you see. I went somewhere. And Waldo was there. And there were others there if I can just remember." DOC HAYWARD: "Oh, Andy, you're fine. Feinting spells can produce all sorts of images. But I guess, we better have you checked out. Feinting spell or not, you're going to sit there while I get my bag. I know I packed it yesterday." Doc Hayward rubs his forehead. ANDY: "It's under the blankets, behind the cooler." DOC HAYWARD: "...That's right... Now how the heck did you know that?" ANDY: "Because you were there too."

S3:E17: ACT MIDNIGHT

Caption: '12 MAR 16 0000'.

INT. TELEVISION (CGI)

36 captions on screen in 6x6 grid of red button options:

'PHASE, REVERSE, BACK, FIND, SEARCH, EXIT

OFF, MORE, MENU, CLOSE, ENTER, CODE

TWELVE, SEND, NEXT, HELP, UPLOAD, DOWNLOAD

DELETE, QUIT, LAST, ALPHA, WEST, J

BACK, OPTIONS, INPUT, LOAD, ACCESS, SAVE

RESET, GO, KING, ADD, VIEW, ZED'

Buttons flash green:

LOAD - ACCESS - UPLOAD - RESET - ALPHA - PHASE - ADD - LAST - MENU - EXIT - REVERSE.

Letters scramble themselves into meaninglessness across one menagerie of wildly rearranging buttons and alphabets.

EXT. CALHOUN MEMORIAL HOSPITAL - AT MORGUE WINDOW - NIGHT

Caption: 'Midnight Saturday, March 12, 2016'. Lights flicker from within.

INT. CALHOUN MEMORIAL HOSPITAL - MORGUE - NIGHT

The locked corpse vault of Laura Palmer. Lights flicker.

INT. CALHOUN MEMORIAL HOSPITAL - SHELVY'S OFFICE - NIGHT

Doctor Shelvy looks up at the flickering lights.

INT. LAURA'S MORGUE LOCKER - NIGHT (CGI)

The reassembled corpse of Laura, wrapped in plastic. Under the plastic to Laura's rotted face. The eyes pop open. Perfect blue. Traveling into the left pupil, blue fractals swarm inward like a maelstrom vertex of draining blue into the blackness.

INT. NADINE'S ROOM - NIGHT

Nadine's sparkling chestnut eyes pop open.

INT. HEIDI'S ROOM - NIGHT

Heidi's eyes pop open. Look around. Close.

EXT. LOG LADY'S CABIN - PORCH - CONCURRENT - NIGHT

Caption: 'Midnight Saturday, March 12, 2016'. Cooper and Margaret and Sarah and Garland on porch. LOG LADY: "It's happening now." RIBBON MAN: "It's happening beneath the waterfall." DREAM LADY: "It's Laura, and I saw her in my dreams." ONE EYED MAN: "It's me. It's me." Cooper swats the air as if a fly was buzzing around. COOPER: "Got you!" JOSIE (VO, haunting echo): "I am the Once Dead Woman." AUDREY (VO, haunting echo): "I am the One Legged Woman."

EXT. WATERFALL - CONCURRENT - NIGHT (CGI)

Caption: 'Midnight Saturday, March 12, 2016'. James and Donna hold each other, staring into the falls. Rain slickers. Riding leathers. Black gloves. DONNA: "Twelve hours." JAMES: "Twelve hours." They kiss. JAMES: "What did you find out about the embryos?" DONNA: "Sarah said we're all going to sit down together." JAMES: "Who?" DONNA: "Sarah, Beth, Daniel, Ben, Sylvia, Doc Hayward, Doc Stanicek, Eileen, Aurora, Lela, and me. Oh, and my half hedonist half-lawyer half-uncle!" JAMES: "Doesn't Sarah have a restraining order against Daniel Palmer?" DONNA: "I guess she can waive it." James smiles. JAMES: "It's going to be okay, Love." DONNA: "Okay, Love." James digs in his pocket for a tissue. He daubs Donna's left eye. Inside the tissue he reveals the emerald inheritance ring. They stare. JAMES: "Sneak peak." James genuflects, takes Donna's left glove off, and places the ring on Donna's left pinky, next to her engagement ring. They regard it. James rises. Face to face. Their four hands clasp each other and they sway, lost in each other's gaze. LAURA (OS): "Hello, James." Startled, they turn to see Laura, wearing her black Black Lodge gown with silver spray at her cleavage. LAURA: "Hello, Donna." Donna holds her left arm. DONNA: "It's her, James." JAMES: "How's this even possible? Laura!?" Laura walks from the shore of the crashing falls toward the couple. James holds Donna close. DONNA: "Why now, Laura? What's happening?" Laura walks forward. JAMES: "Laura, she's older like us. That isn't a twin." Laura walks forward. DONNA: "If you are Laura, answer..." Laura holds up a single blond hair, and flicks it into the woods. Laura approaches James. LAURA: "Bobby killed a guy." James and Donna break embrace. Laura approaches James face, then his ear. LAURA (whispered) "I'm pregnant." Laura strokes his face, brings her lips to his. They kiss. Donna looks appalled, James lost in astonishment and dreamy afterkiss. DONNA: "Laura! Don't do this! James!" Laura turns back to the falls, begins walking away. Donna abruptly turns James to her. DONNA: "James! How could you!? This is our wedding day! James!" James looks down then furtively watches Laura leave. DONNA: "I HATE THIS WORLD! I hate you, Laura!" Donna slaps James. James looks pained. Donna takes the inheritance ring off and throws it. Donna runs away. JAMES: "Donna, no!" Laura turns to Lauramist then fades into the mist. James takes last glance at Laura and chases after Donna. In slower motion, Donna running through woods below waterfall. James chasing her. OVERLAY SLOWER MOTION WITH:

EXT. SPARKWOOD AVENUE - CIRCA 1980 - DAY - NORMAL MOTION

Mount Saint Helens dust billowing, we see the 1980 TWO ARMED MAN in tank top and black gloves driving a 1972 Ford two tone truck. On the Two Armed Man's left arm, his 'MOM' or 'BOB' 'Fire Walk With Me' tattoo, hung out window. His truck slams into another oncoming 1972 two tone Ford truck, slicing his arm clean off. 1980 ONE ARMED MAN: "I mean it like it is, like it sounds. My name is not Phillip Michael Gerard. His name is not Robert Bartholomew Palmer. I'm going to dream now. But like they say, straight off a cliff, right into a dream. But when I saw the face of God..." END BOTH OVERLAYS.

EXT. HORNE WOODS BENEATH WATERFALL - NIGHT

Hanging on a branch of douglas fir, the falls in the background, we see the emerald inheritance ring, glinting with light from the observation deck far above, a single strand of blond hair looped through the ring, undulating upon the breeze.

MONTAGE - 'ANCIENT' FOOTAGE' OF TWIN PEAKS CIRCA 1891, 1916, 1980, 1991, 2016.

And 2091 Hovercar Archeological Robot: 'Orchid Laurel' 'Drone' uncovering a black slick cube several feet deep in clear ice atop Blue Pine Mountain, frozen in a cliff caves' recesses. The Orchid Laurel, though looking almost like a medical interplanetary floating lander, has a bright purple and green racing stripe around its circumference. It shines red laser light across the cube. Waits. ANNOUNCER (VO, males all speak, Benified) "Tonight on NOVA. February 24, 2116. Twenty five years ago tonight, the 'Wink Tapes' were discovered. The strange case of Twin Peaks. Which is why we have entitled this Nova Episode 'Twins ... Peak,' you'll soon see why." Show logos. ANNOUNCER (VO, males all speak, Cooperfied): "Stay tuned for this PBS / NATIONAL GEOGRAPHIC / NASA / ESA / FBI / INTERPOL / RCMP / CDC / WHO / PINK SWEAT / PARAMOUNT HOLOGRAMS / UNITED NATIONS / UNITED SOL SYSTEM special." Red lasers begin infrared flaring, melting ice.

EXT. HURLEY HOUSE - FRONT DOOR - NIGHT

At the front door, a black gloved hand stabs a butcher's knife into the door. We hear the perpetrator running. Giggles. The knife drips with blood. Putrescent red brown clotted blood.

INT. THE BUBBLE OF SHERIFF'S STATION - CONFERENCE ROOM (CGI)

Albert and Cooper stand alone in the Bubble, black plastic stretched to the walls and furniture. They remove strange black liquid gloves, like unsophisticated VRUV7 smoothing itself into a puddle. COOPER: "If my calculations are correct, Albert I believe I will solve this case in 12 days. But 12 days from when? Today, no, not quite, but it begins today, of course, perhaps similar to the spacetime quantum boundaries Major Briggs studies. But _he_ studies magic, Albert. The Magician. I believe I once employed this magic correctly when you were there and discovered Leland Palmer was the murderer of Laura, inhabited by Bob, instructed in evil from the Little Red Dwarf of the Black Lodge. I hope your listening, Windom, because I have this for you." Cooper presses a button. GORDON (VO, yelling, synthesized) "BANZAI!" COOPER: "Albert, I believe the Black Lodge is panicking. Much like in chess, but far more complex. It would explain why one possessed person killed another, Nadine Nelson by Pete by Bob by _It._ Nadine kills Beatrice Roundtree, who I suspect to have been possessed by Caroline Earle, the woman I once loved. Why? Why would Heidi Vogel attempt to kill Judith Swain? Judith is not inhabited. No pattern. Except. Judith's link to Phillip Jeffries, an inhabitant of the Lodge. Something's not just happening, Albert, but I believe something's concluding soon. Albert, it involves many paths to one solution. Many, many paths. It's strange, Albert, I feel I am traveling somehow through spacetime, even now, even as we speak. You see, Albert, in a story or movie, the detective never begins with the solution, the detective begins with information and clues. Albert, at the Town Hall meeting, I strangely, though purposefully, knew the conclusions to crimes, but had no clues. Some crimes and information has proceeded forward to indictments and incarceration. Garland is not one of these cases. Hear me out, Albert. At the Town Hall I was somehow free to express myself outside Bureau guidelines. But it was also the truth. The solution at the beginning. Backwards, Albert. So much deceit in this Town and County, many should be embarrassed, I should think. Windom Earle is playing a chess game with the lives of the people of Twin Peaks, and he has named his kings and queens. But I announced at that Town Meeting, an incorrect assumption, 'It is happening again, but this time, we may be able to prevent any deaths.' Roundtree is dead. I can no longer play a stalemate game with Windom Earle."

INT. SHERIFF'S STATION - CELLBLOCK - NIGHT

Leo sits on bunk. In another cell, at the far other end, Juliette sits on her bunk. Between the two, Bear Renault lays on his bunk, arms crossed behind him, smiling, staring up at the mattress of the lower bunk. Juliette stares at Leo. Leo stares at Juliette. JULIETTE: "His name is Bob." LEO: "It's almost time to shuffle off to Buffalo!" JULIETTE: "Good luck, Honey." LEO: "Just like that time in Pittsburgh, huh, Coop?" JULIETTE: "You killed me in Wind River, then I floated down to Deer Meadow." BEAR: "Juliette! Maman said you be quiet now." JULIETTE: "Oui, _Albert_. Merci."

INT. TILTED CABIN - PEARL LAKES - NIGHT

In rippling blue lake water letters bordered in pearlescent sand, captions: 'PINK SWEAT EXCLUSIVELY PRESENTS' 'Ginny and Jenny Cousineau' Ginny and Jenny, conjoined twins, conjoined at the seventh rib, with two complete torsos, and 4 perfect breasts. In their early athletic sixties, in green and red sequined belly dance regalia, and flowing blond hair, are also strangely conjoined at ends of their inner arms at both wrists. And as they dance, this fingerless double-wristed loop is mesmerizing in its lilts and evocative oddity. And as they turn, either one or the other's sparkling visage fills the loop like in a mirror. Ginny slips a black glove onto her right hand, then Jenny a black glove on her left. Ginny regards Jenny's glove, then Jenny Ginny's, always through the loop of the imaginary dancing mirror.

EXT. LOG LADY'S CABIN - PORCH - NIGHT

Margaret with the Log bundled and black gloved in green flannel blanket over cape lit by the fire of an oil lantern, barrel, and candlelight. Motionless in rocking chair. LOG LADY: "The gloves are not what they seem. I know you'll be upset by the way I talk to you, but this is from the future, I hope you understand me. I don't know who you are, but that's not my concern, the fact remains, I think you may be beginning to, or perhaps even already have, realized, this doesn't really sound quite like me. Pfft! If I believed that, I'd buy me a copper conductor and the train he piloted in on. That's not correct either, hold on, there's something else happening, right now, yet not quite right, quantum measurements would conclude, copper as a conductor exceeds that of steel, so therefore, injecting the monkey is not the answer, metallically speaking. Aces!" Log Lady sips her tea. LOG LADY: "Okay, let's rock." Margaret rocks her rocking chair. LOG LADY: "I told you a long time ago that you weren't going to like this. It's tea. Just tea. Remember the tea. That'll be the fun part. But never mind all this nonsense. The owls. That woke you up. Faceless taxies. Near the future. Never the past. But that's the problem with nostalgia: It's only fun when it's gone away. You see, there's two types of people, one's who want for the future, and those that want for the past. It is only what you tell yourself. Will it be future or past? Has it been future or past?" Log Lady looks down. LOG LADY: "Don't look at me for the answer. I already told you, look to thyself. I know, I know, I don't like the owls either. But there's a reason for that. Okay, now the scones." Log Lady puts Log down. Margaret takes two scones, and serves them to her guest and herself. MARGARET: "You knew I could talk to you from here, didn't you?" Margaret splits her scone in twain with a butter knife. MARGARET: "I hate them, you see. The scones, not any other antecedent. Also, I do not hate the owls. I hate what they do." LOG LADY: "But this is what really happened." OVERLAY 100 scenes in one hundred seconds [all footage E17 previous to point, perfectly divided by one hundred. Log Lady seems impatient. Log lady sips tea. Log Lady pops pitch. Chews. Waits. Chews. LOG LADY: "See what I mean? ... Oh, for Pete's Sake, The End."

EXT. BLACK LAKE & BLUE PINE LODGE & SHORE - NIGHT (CGI)

Pete stands on the shore, staring toward the far off falls. He stoops over, hands on knees. PETE: "Well, don't that beat all!" Pete stares at a single wood tick, clutched atop a twig stuck in the mud. Pete snatches it between his black gloved right thumb and middle finger. PETE: "Of course, this isn't how you're supposed to do things. Catherine, one time, actually needed a lift, and wouldn't you know, there was this tick in my pickup truck! Well, try as I might, Cathy, well, she never set foot in that old pickup truck of mine not that night, not ever. Yes, Midge was her name, if it's all the same. Anywho, the young ticks, they're softer, and when they all hatch, the crows round these parts come feeding. Enzymes, what can you do? But you can trick the crows, you see, you just smash a wood tick, and you'll get a murder of crows." Pete snaps finger ala Ronette. Pete grins. Pete turns. Sees Leland, down shore, weeping, adjusting his black gloves. Pete wonders. Squints. PETE: "Guess that's what you'd call a coincidence. I think the whole thing's hogwash. Which reminds me of the time The Log Lady stole Midge, replaced her with Windom, then I think my arms bent back, as I recall, then there's all this Nadine Business, you see, I took my chances, so to speak. Well, wouldn't you know, things got worse from there. I had to replace the whole transmission, all because of Pearl Lakes. There we go, the crows have arrived. At night. Now, I guess, The Log Lady will be all upset, I suppose."

EXT. HORNE WOODS BENEATH WATERFALL - NIGHT

A black leather gloved hand snatches the emerald inheritance ring and Laura's golden strand.

PIT WAKENS backwards THEME and CLOSING SEQUENCE starring exclusively THE MAN FROM ANOTHER PLACE alone in the chevronned room of red drapes. In red suit. Black gloves. Black shoes. In Glitchity Dance. In Glitchity pixelation. Turning his Glitchity Jade Ring. In Glitchity electricity. In Glitchity Walk. In Glitchity Red Curtained aurora above. In Glitchity rubbing his hands. In Glitchity Fractals. In a Glitchity Clap. In glitchity swirlization. In glitchity finger snaps. In SuperMan From Another Place glitchity Ripples. With glitchity sparks of red micro-strobes of orbitals, glitching in and out of existence, in orbits about the Dancing Man. In glitchity posing his hands as Laura. In Glitch. Sketchity glitch glitch. Light.


End file.
